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  • Aesthetic Primacy, Cultural Identity, and Human Agency

    Michael S. Martin

    English Department
    Temple University
    msmartin@temple.edu

     

    Review of: Emory Elliott, Louis Fretas Caton, and Jeffrey Rhyne, eds., Aesthetics in a Multicultural Age.New York and Oxford: Oxford UP, 2002.

     

    “Let us, for example, credit it to the honor of Kant that he should expatiate on the peculiar properties of the sense of touch with the naïveté of a country parson!”

     

    –Nietzsche, 3rd Essay, Section 6, in The Genealogy of Morals

     

    If we are to believe the arguments made by the contributors to Aesthetics in a Multicultural Age, aesthetics has been much maligned in twentieth-century literary theory, film studies, and art history. As an instance of this critical tendency, Winfried Fluck, whose essay “Aesthetics and Cultural Studies” foregrounds many of the central dilemmas inherent to any aesthetic judgment, invokes the contemporary German critic Urlich Schödlbauer when the latter writes, “whoever deals with aesthetics nowadays, dissects a corpse” (80). While the death of aesthetics is perhaps overstated here, the contributors to this volume all make separate, and mostly compelling, cases for the revitalization of the aesthetic in textual and extra-textual cultural productions. The formative problem in determining aesthetic judgment is perhaps best stated by Emory Elliott in the introduction when he writes that, because of multiculturalism and changes in canon formation, “many of the prior aesthetic criteria need to be re-examined and certainly the traditional hierarchies of merit need to be challenged” (5). Instead of being a methodology that discounts the aesthetic, he argues, multiculturalism makes it possible “to formulate new terminologies, categories, and processes of assessment” and is thus firmly grounded in the act of judgment (6).

     

    The essays in Aesthetics in a Multicultural Age were collected from a major conference held by the Center for Ideas and Society at the University of California, Riverside, in 1998. The conference attracted over 600 attendees, received substantial coverage in the Los Angeles Times, and was featured in a cover story for the 6 December 1998 edition of the Chronicle of Higher Education. In an attempt to add continuity and cohesion to the sometimes disparately themed essays, the editors have divided the book into three rubrics: “Challenges to Aesthetics of Diversity,” “Redefining Categories of Value and Difference,” and “Aesthetic Judgment and the Public Sphere.” Coeditor Elliott, an English professor at Riverside, has assembled a diverse field for this collection, including scholars in film studies, art history, African-American literature, and women’s studies. By and large, however, the majority of the theorists in this volume are well-known names from American Studies, predominantly nineteenth-century American literary critics, and most of them can be aligned with a neopragmatist school of thought, borrowing from the works of John Dewey and William James. Dewey provides a recurring point of reference for Fluck, Giles Gunn, and Heinz Ickstadt, all of whom consider Dewey’s Art as Experience (1934) as a model for a contingent, experiential basis for aesthetic interpretation. The other text most frequently referenced here is, not surprisingly, Immanuel Kant’s Critique of Judgment (1790). But whereas Dewey is generally enlisted on the side of a new and reoriented aesthetic project, Kant is usually associated with a threatened and possibly unworkable paradigm, his notion of disinterested beauty running counter to the contemporary emphasis on the political and social investments that must inevitably inform aesthetic judgment. Still, the best essays in the volume resist any tendency simply to pronounce aesthetic distinctions contingent or relative and leave it at that; they undertake to advance a new aesthetics in which something of Kant’s enlightenment project persists.

     

    Under the rubric of “Challenges to an Aesthetics of Diversity,” the first essay in the volume is perhaps also the finest: Satya P. Mohanty’s “Can Our Values Be Objective? On Ethics, Aesthetics, and Progressive Politics” is an extended criticism of the postmodern tendency to devalue any form of critical judgment. In response to the postmodern vantage, which is wary of universal normative values and claims and lacks grounding in the empirical method, Mohanty proffers a nuanced, fluid conception of objectivity. For Mohanty, Michel Foucault represents an ideological holism, or skepticism, while Noam Chomsky, with his theory of human betterment, provides an applicable model for a new version of objectivity that can indeed make a claim for that which is just, beautiful, and good. Mohanty supports a position that he terms “post-positivist” realism, though he recognizes that human beings are inevitably shaped by ideology and thus can never proceed with “theoretical innocence” (33). Instead, Mohanty posits a new version of objectivity, one that affirms the role of social and ideological error in any human inquiry, recognizes the primacy of empiricism (or referentiality) in any evaluation, and establishes a cross-cultural conception of knowledge.

     

    Giles Gunn, editor of the collection Early American Writing (1994), is also concerned with heuristic potential and the importance of culture in shaping human experience, yet his essay “The Pragmatics of the Aesthetic” argues more overtly for the virtues of specifically aesthetic texts. Gunn writes of the primacy of the imagination in such an experience, stating that “the imagination provides the motive for all those symbolic stratagems by which a culture’s wisdom or ignorance is refracted and transmitted” (64). The benefit of such an interpretation of cultural symbols is that both expression and human interaction have an ethical dimension, and this quality is linked with an imperative to understand aesthetic tastes and judgments within a specifically public sphere. Gunn’s argument centers on a suppositional structure that guides experience with an original premise, but aesthetic modes of thinking are central to organizing the work of the imagination with that of “practical exploration”; therefore, the aesthetic is never really severed from the pragmatic (73).

     

    An equally comprehensive and forceful essay, Fluck’s “Aesthetics and Cultural Studies” has a similar leitmotif: aesthetic practice is never separate from the referential dimension, and an aesthetic moment, or “attitude” as Fluck calls it, has a potentially transformative value. Fluck’s approach is a genealogical one, as he outlines how aesthetics have been categorized because of normative models of what defines the aesthetic, and this includes the modernist turn toward New Critical protocols that create a separate ontological category for understanding the intrinsic worth of a text. The aesthetic, however, is never merely a function to be encountered objectively and is instead one of many functions, including the political and the subjective, that become manifest when interacting with a work, whether it is of “high” culture or “low” culture, a distinction cultural studies seeks to efface. Fluck’s example of a subway map is appropriate; that is, a subway map has its referential dimension always intact–it is used for finding directions–yet one cannot access its aesthetic function (perhaps its correlation to Egyptian hieroglyphics), Fluck conjectures, without first touching upon its direct rapport with the objective realm. By illustrating how cultural studies always must work with some movement toward the aesthetic, whether in matters of beauty or judgment, Fluck articulates the strongest critique of cultural studies in this volume. Along with Gunn and Mohanty, he attempts to fulfill the underlying ambition of this volume, that is, to re-envision aesthetic judgment in a way that situates praxis within a multicultural framework rather than simply accepting the death of aesthetics at the hands of postmodern theory and cultural studies. The force of these authors’ arguments is never quite counterbalanced by essays such as John Carlos Rowe’s, which offers effusive praise for and defense of cultural studies methodologies.

     

    Rowe (editor of Culture and the Problem of the Disciplines, reviewed in the May 2000 issue of Postmodern Culture) provides the most systematic argument in the collection in his defense of the methodologies of cultural studies, “The Resistance to Cultural Studies,” the final essay in the “Challenges to an Aesthetics of Diversity” section. For Rowe and most of the contributors to this volume, the promotion of cultural studies to the forefront of literary criticism does not diminish the role of aesthetics, but Rowe’s argument is almost purely focused on the benefits of cultural studies, both as a hermeneutic operation and as a dehierarchizing force vis-à-vis traditional, ahistorical criticism. For example, one of the several critiques of cultural studies that Rowe argues against is the notion that the topics cultural studies critics teach “are easy and superficially relevant” (109). Instead, cultural studies, with its emphasis on popular and “low” cultural texts, presents a new hermeneutic implication for the interpreter: the text in question, whether films such as Rambo or Titanic, or “indisputable” literary classics such as Henry James’s Portrait of a Lady or Wings of the Dove, requires a new mode of theoretical and practical inquiry. Rowe combines the theoretical complexity of de Man and Lyotard with this form of inquiry, noting the postmodern implications within cultural studies methodology, and he argues that in the social relevance, cultural pertinence, and historical grounding of cultural studies, there is a pragmatic goal: “What will this interpretation do?” (107). What the interpretation does is contingent because cultural studies, like postmodernism, does not affirm a “governing narrative” from which the critic can step outside her particular, historically grounded interpretive situation.

     

    The first essay in the “Redefining Categories of Value and Difference” section is Shelley Fisher Fishkin’s study of white and black American authors being rewritten or forgotten in literary history because of prescribed ideas on how each should write. In “Desegregating American Literary Studies,” Fishkin uses a variety of examples of nontraditional racial texts and their subsequent critical reception to argue that black authors’ literary reputations are diminished by their use of white characters, just as white authors, such as Sinclair Lewis, are marginalized when they write about African-American experience. Fishkin ends her essay with a call to revise current notions of canonicity and exclusiveness in American literary studies: “American literary studies will not be segregated until […] books by both groups of writers [African American and white authors] are featured in publishers’ African American Studies and American literature catalogs,” as well as taught in both American literature and African-American literature courses (131). This essay is arguably one of the more important critical works on American Studies in recent years, though its narrowly literary-historical emphasis on reception and canonicity makes it a slightly disconcerting inclusion in this largely theory-and-praxis-oriented volume.

     

    Fishkin’s essay, however, is a fitting preamble to the subsequent piece by Robyn Wiegman, whose “Difference and Disciplinarity” considers how identity politics are reinscribed within the academic institution. Wiegman presents perhaps the most complex argument in Aesthetics in a Multicultural Age, and her consideration of national and transnational identities–as well as her resistance to forcing identities into binary systems–is also explored in other essays in the volume, including Gunn’s contribution. Wiegman argues that feminist studies has been co-opted by two positions: the category of “women” is often equated by African-American and postcolonial critics to some universalizing white norm, while poststructuralist critics consider any reference to identity to be essentializing and thus reductive (137-38). One essay on which she centers her argument is Susan Gubar’s “What Ails Feminist Criticism?,” a piece that begins by recalling the various stages in feminist criticism and outlines some reasons for the schism between generations of feminist scholars. Wiegman’s answer for how institutions contribute to and reify identity politics and formations of national identities is a method that she terms “the metacritics of difference”; this method can be understood as a genealogical approach to feminist studies that uncovers how feminism is produced as an object of knowledge, what Wiegman calls “the problematic of identitarian social forms and formations” (147). Wiegman calls forcefully for replacing the aesthetic with a consideration of difference, but her essay would have contributed more centrally to this volume if she had attempted to elaborate some definition of an aesthetic judgment of difference.

     

    Americanist Donald E. Pease, in an essay critiquing the traditional aesthetic criteria that were levied at C.L.R. James, focuses on individual, rather than social, empowerment and on its relation to the modern liberal state rather than the academic institution. “Doing Justice to C.L.R. James’s Mariners, Renegades, and Castaways [1953],” included in the section “Redefining Categories of Value and Difference,” is, on one hand, Pease’s individual argument for the importance to literary scholarship of James’s book of Melville criticism precisely because James challenges Moby-Dick (1851) in his act of writing an interested interpretation, reimagining the canonical work with a political imperative in mind and substituting the narration of the crew over that of Ahab. On the other hand, Pease is making the case that the criticism (or deliberate ignoring) of James is rooted in his book’s call for an aesthetic categorization outside of “the norms and assumptions […] of which the field was organized” (159). The aesthetic sphere, here represented by James’s book, became a site of free subjectivity and utopian resistance, as James was writing his book while he was a prisoner of the state at Ellis Island, hovering between the rights and dignities afforded to a person of citizenship and the lack of these rights and dignities of a subject with noncitizenship. In response, Pease argues, James “disidentif[ies] with the categories through which he would also practice U.S. citizenship” and also makes the case for an unstated metanarrative within Moby-Dick, one that, in the spirit of equality, moves the locus of power in the novel from Ahab to that of the crew (170).

     

    The next essay in this section is Johnella E. Butler’s “Mumbo Jumbo, Theory, and the Aesthetics of Wholeness,” which argues that Western forms of evaluation, particularly the unifying idea of logos, do not provoke a communitarian standard of judgment. Butler’s piece is one of the most complex, yet rewarding, contributions to this volume, and though her argument emphasizes the reconceptualization of African-American theory in order to “reveal the full significance of the complexities of that literature’s aesthetics,” she makes the case for a larger aesthetic reconstitution (177). In dividing Western consciousness under the rubric of “Logos/Dialogics,” Butler establishes her case for another form of understanding African-American double-consciousness (and, presumably, aesthetic consciousness): through the dialectic of “Nommo/Dianommic.” In contrast to the forced dialectic of Logos, which disaffirms interconnectedness, the Nommo emphasizes the sacredness of the written word (“the life force that comes from the divine”), the dominance of multiplicity over fragmentation, and the confluence of past, present, and future to inform decisions (183). Butler’s argument is compelling and provocative, but I wonder whether her faith in the sacredness of the written text, which is understood via the tropes of ancestral spirituality in texts such as Mumbo Jumbo, does not in fact reify some of the same metaphysical problems of destructive fragmentation and isolation that she successfully exposes as inherent in the Logos/Dialogics tradition.

     

    Butler is followed by one of the most prominent voices in revealing the ideological stakes in the canon formation of nineteenth-century American literature, Paul Lauter. Lauter analyzes the aesthetics of tradition, audience, and discourse in his essay “Aesthetics Again?: The Pleasures and the Dangers,” the first essay in the section “Aesthetic Judgment and the Public Sphere.” To do this aesthetic analysis, Lauter supplements his essay with photographs of Native American artworks that were recently displayed in both museum and art exhibits across the United States. The inherent problem in assimilating these new artistic forms, he argues, is that Western culture does not have aesthetic principles from which to understand the discourse of these art objects. Questions of “audience, function, and conventions” inform our judgments, and these forms of discourse are not readily apparent or transferable to an unaccustomed Western audience (210). The Native American artworks that Lauter chooses to accompany his essay are stunning and, to his credit, do indeed implore the reader to embrace the contradictions in applying Western criteria of art evaluation to works that defy such application. In comparison to the other theorists’ work represented in this volume, however, Lauter’s argument is too abbreviated to be completely effective, and his central thesis–that is, we should adjust our aesthetic understanding when encountering new and unconventional artistic forms–is somewhat naïve when considered next to the multilayered, expansive theories of judgment from other theorists (McHugh, Ickstadt) in this section.

     

    In a similar vein, Amelia Jones challenges a prominent critical position, this one proffered by art historian David Hickey, that emphasizes the exclusivity of art appreciation and the self-evident beauty of a cultural production. Jones argues in “Beauty Discourse and the Logic of Aesthetics” that Hickey, whose book The Invisible Dragon (1993) won the most distinguished art criticism prize, invokes Ruskin-esque qualitative, universal judgments about art and has “occlud[ed] the contingency of meaning and value and the role of the interpreter” (216). The aesthetic is then used for purposes of naturalized, institutional normative values, values that, while unstated, attempt to distance the art object from identity and cultural politics. Referring once again to Kant, Jones makes the argument that interest, or a “stench of ideology,” is inevitably involved in any judgment of beauty, and she incorporates such classical and contemporary figures as Francois Boucher and Robert Mapplethorpe to substantiate her claim (220). I find Jones’s criticism of Hickey’s aesthetic values particularly convincing, but her gendered critique of Denis Diderot’s Kantian aesthetic of disinterestedness is not as thorough as it needs to be. Her forthright final admission in the essay, that she wants “to be” Renee Cox–Cox is represented in one of her own photographs–lends a degree of trust to her preceding argument, as she acknowledges her own interest in the project she has just covered.

     

    The next essay in the collection is by Kathleen McHugh, and her argument is a fluid, connective one for understanding aesthetic criticism through trauma theory. In “The Aesthetics of Wounding: Trauma, Self-Representation, and the Critical Voice,” McHugh correlates a Kantian understanding of the imagination, which must reconstitute itself after encountering something beyond its scope of understanding, with traumatic experiences in the human psyche; the subject cannot have access to the event itself and is thus disconnected from history and also from what is “unrepresentable.” McHugh makes her argument more concrete by referring to a 1995 article in the New Yorker by art critic Arlene Croce, who dismisses an AIDS-themed art exhibit without actually seeing it. Croce’s case, as McHugh describes it, is Neo-Kantian in its elevation of a particular aesthetic standard to that of a universal norm, and Croce enacts the psychological trait of “resistance response” because she self-consciously refers to her understanding of the artwork as beyond her comprehension (245). Roland Barthes’s autobiographical writings provide McHugh with a model for an aesthetics of wounding: Barthes disassociates his interest in specific photographs from any concept of beauty and instead, McHugh contends, “identifies photography ‘as a wound,’ the field in which he considers its meaning and effects is his affect, not that of the objective meaning of photography” (247). McHugh’s interest in visual culture helps establish a structural mapping of her central theses throughout this essay, and I consider her consequent theory of autobiography–a genre that she argues can “provide a way to apprehend more fully” the “ineffable and mysteries remainder” outside of the subject during the aesthetic moment–to be particularly useful for teaching this literary genre (250).

     

    The next essay under “Aesthetic Judgment and the Public Sphere” comes from the field of film studies, Chan A. Noriega’s “Beautiful Identities: When History Turns State’s Evidence.” As with Butler’s article, Noriega’s piece has far-reaching implications, this time with the formation of the aesthetic within the realm of the political. Earlier in the volume, Fluck concludes his essay “Aesthetics and Cultural Studies” with an acknowledgment of the reintegration of the aesthetic into political forms, as political forms naturally invoke an aesthetic attitude (93). Noriega perceives the two forms, the aesthetic and the political, as necessarily interwoven functions and specifically refers to the case of the Federal Trade Commission establishing what Noriega terms a “beautiful identity” for Chicano literature to prove such a plurality of genres (257). For Noriega, historiography comes before history, and the FTC helped establish Chicano cinema in order to recognize the emerging Chicano cultural identity. The state thus acted as an intermediary agent between “the mass media and disenfranchised groups,” and the historiographical project was the state’s creation of an identity, or community, of the disenfranchised before such a group was distinctively formed and empowered on a social level (257).

     

    The final essay in this collection, Heinz Ickstadt’s “Toward a Pluralist Aesthetics,” implicitly integrates many of the theories presented by Noriega, Butler, Fluck, Gunn, and Mohanty. (He does so, however, without directly referring to them or their work–sharing, in this respect, the rather too discreet or isolated character of all the essays in the volume.) This shared stance favors a contingent, inconclusive, historically grounded aesthetic model that would recognize “practical, moral, and aesthetic functions as mutually dependent” (267). Such a model would be conversant with “changing social and cultural conditions” (267), Ickstadt argues, and would not eliminate one of the central questions raised in this volume: do universal standards of judgment exist, or can there be a plurality of possible answers to such standards? Ickstadt is careful to distinguish between aesthetic value and aesthetic practice, yet if we are to incorporate his functional, experiential imperative toward cultural productions, then the question of what constitutes an agreed-upon criterion for judgment will still inevitably come into play.

     

    The contemplation of such questions should not be restricted to individual disciplines and categories of experience, and for this reason the volume is pertinent to the whole range of literary and theoretical discussion beyond the field of American Studies, its most immediate object of study. To take a tentative stance toward a plurality of aesthetics provides a model to address what Elliott calls in his introduction “a system […] aligned with current theories and cultural conditions,” and such a system is necessary if we are to continue to work outside of disciplinary boundaries and across cultural identities in our respective fields of study (18). Even if aesthetics is not quite so seriously imperiled as this volume suggests, the book remains valuable for detailing its continued relevance and even necessity for contemporary cultural study.

     

  • Poet, Actor, Spectator

    Stuart Kendall

    stuartkendall@kanandesign.com

     

    Review of: Clayton Eshleman, Juniper Fuse: Upper Paleolithic Imagination and the Construction of the Underworld.Middleton, CT: Wesleyan UP, 2003.

     

    Section five of Nietzsche’s The Birth of Tragedy ends with a curious figure, a “weird image from a fairy tale which can turn its eyes at will and behold itself […] at once subject and object, at once poet, actor, and spectator” (52). The figure weds Dionysus and Apollo as Nietzsche conceives them. The Dionysian musician surrenders his subjectivity by sinking into identification with the primal unity of the world in all its pain and contradiction. But the Apollonian dream conjures images–symbols, metaphors–from this identification: “Then the Dionysian-musical enchantment of the sleeper seems to emit image sparks, lyrical poems” (50). Nietzsche distinguishes the lyric poet from the epic poet, who is nevertheless related to him, with the fact that while the epic poet loses him or herself in the pure contemplation of images, as in the relentless unfurling of poetic language, the lyric poet loses him or herself in the pain and contradiction of the world; lyric images, charged with meaning, burst with the brevity of sparks. Through the “mirror of illusion” that is poetic language, the epic poet is “protected from becoming one and fused with his figures. In contrast to this, the images of the lyrist are nothing but his very self and, as it were, only different projections of himself, so he, as the moving center of this world, may say ‘I’” (50). Unprotected, the lyric poet becomes fused with the world and with his or her images. The hybrid figure of Nietzsche’s imagining–at once poet, actor, and spectator–is such a lyrist: a poet in the world, a performer of flesh and blood, and an observer, conscious of himself in his turns.

     

    In Juniper Fuse: Upper Paleolithic Imagination and the Construction of the Underworld, Clayton Eshleman cuts just such a figure. Three distinct, but intersecting and overlapping, areas of interest animate the text. The book is at once a book of poetry, a poet’s autobiography, a memoir of his life in and life reflected in prehistoric painted caves, and an extended scholarly engagement with the anthropology of prehistory. At its best, and most complex, Eshleman challenges academic anthropology with the test of his own experience and the imagination of a visionary poet. “Instead of solely employing rational documentation (as have the archeologists), it struck me that this ‘inseparable mix’ might be approached using poetic imagination as well as through fieldwork and research” (xv). Eshleman’s method, then, is not one but many. It is a gesture of what he calls disciplinary pluralism (xii). In this way, significantly and occasionally disastrously, among its other pleasures, Juniper Fuse offers a test case for reflections on interdisciplinarity as well as for the limits and uses of each of the disciplines involved. Readers are challenged to follow him, and this is no easy task.

     

    Eshleman’s subject is not cave painting per se but rather the imagination that is recorded in cave wall imagery (xi). Because he tracks this “Paleolithic imagination” primarily through the roots of his own experience and sensibility, his subject is also his subjectivity. The underworld of Eshleman’s title is first and foremost the human unconscious, an unconscious which he believes can be made conscious through the symbolic consciousness expressed in poetry. (Here Eshleman owes these ideas to James Hillman’s essay “The Dream and the Underworld” and Norman O. Brown’s argument from “Fulfillment,” chapter eight of Love’s Body.) The underworld is secondly all that has been repressed or rejected from human psychology, experience, and history: unacceptable acts and urges, animal instincts, the extinction of species and potential extinction of the human race through ecological disaster. The underworld, then, is the Hell of man. It is the bottom rung of consciousness and what lies beneath. It is the back wall of human history. His guiding assumption is succinctly stated: “Consciousness […] seems to be the upswing of a ‘fall’ from the seamless animal web, in which a certain amount of sexual energy was transformed into fantasy energy, and the loss partially and hauntingly compensated for by dreaming and imagining–processes not directly related to survival” (30). What Eshleman elsewhere terms the “autonomous imagination,” the ability to think and speak in symbolic terms, in metaphors and images, is born of a moment of loss, when early humanity began to conceive of itself as distinct from the world it inhabited. Already in this passage one observes the extent to which Eshleman borrows his terms from William Blake and from psychoanalysis more so than from the staid, responsible, objective terms of prehistoric anthropology. (Significantly, David Lewis-Williams, one of the foremost living prehistorians, argues in his book The Mind in the Cave that symbolic consciousness is in fact essential to the success and survival of our species: it participates in and permits social organization and the division of labor in a more effective, because hierarchical, way than was previously possible.)

     

    Eshleman and his wife Caryl began visiting the caves of the Dordogne in 1974. Resonating with themes and images long established in Eshleman’s work, the galvanizing experience occasioned a shift in the tone and topic of the poet’s corpus: where his previous major collections of verse (Indiana, Altars) focused with often ferocious, even embarrassing, psychological honesty on the poet’s own life, his WASP upbringing, and his education, his writing after the encounter with the caves, while retaining its rootedness in the poet’s inner life, turned more resolutely outward. Juniper Fuse took shape across the volumes of poetry and prose Eshleman published since the late 1970s: Hades in Manganese (1981), Fracture (1983), The Name Encanyoned River (1986), Hotel Cro-Magnon (1989), Antiphonal Swing (1989), Under World Arrest (1994), and From Scratch (1998). Juniper Fuse then is an anthology. It gathers perhaps a third of Eshleman’s poetry and prose on its topic, undeniably the most significant third. The first two parts of Juniper Fuse represent selections from Hades in Manganese and Fracture. The latter parts more radically commingle materials from the later books.

     

    But to say that much of Juniper Fuse has previously appeared in print is misleading on at least four counts. First, Eshleman’s collections of verse are in fact often anthologies of previously published materials. His poems first appear in journals, as broadsides or in chapbooks, before finding their way into larger, more widely distributed collections. “A Cosmogonic Collage” and The Aranea Constellation are two sections of Juniper Fuse that before now have only appeared in minor or small-circulation formats.

     

    Second, each republication occasions a subtle shift in the meaning of a poem or prose piece through its new context. In From Scratch, Eshleman compares and contrasts his process to that of Robert Duncan in Duncan’s “Passages” series (From Scratch 182). For Duncan, the “Passages” poems, published in sections within separate volumes, stood apart from the books in which they appeared. For Eshleman, the writings which comprise Juniper Fuse fit into the books where they made their first appearance and the larger project as well. In this way, the earlier collections each include poems specifically concerned with questions of the Paleolithic imagination as well as other poems which may or may not take up these questions. Each of these collections presents a narrative, however loose, of the author’s life, among other things, in the years of its composition. Juniper Fuse, however, while still charting such a narrative, presents itself as tightly focused on the Paleolithic imagination. Furthermore, Juniper Fuse presents itself as an anthology of both prose and poetry: here, prose pieces that once served to preface or annotate collections of poetry mingle with the poems they once prefaced in an entirely different constellation.

     

    Third, each republication often includes revisions: changes of words or phrases, of lineation, occasionally massive reordering, additions to or subtractions from the text. Some of these revisions are minor; others, obviously, are not. In “Silence Raving,” the first poem in Juniper Fuse, originally published in Hades in Manganese, Eshleman changes, among other things, the phrase “the power/ the Cro-Magnons bequeathed to me, to make an altar of my throat” to “the power/ the Cro-Magnons bequeathed to us: / to make an altar of our throats” (Juniper Fuse 3). In poems concerned with the nature of subjectivity, such shifts from the personal to the universal are enormously significant. (In this particular case, they damage the poem by coming too easily.)

     

    Fourth, Eshleman’s previous collections, generally published through Black Sparrow Press, were rarely and sparingly illustrated. Juniper Fuse, however, is illustrated and the book benefits from it. “Indeterminate, Open” constitutes a poem in the form of notes on a set of photographs and drawings by Monique and Claude Archambeau. The poem in From Scratch did not include the drawings and it reads like a series of captions to absent images. By including the images, Juniper Fuse permits the piece to serve as a demonstration of the primary gesture of the text as a whole: the intermingling of word and image, image and word.

     

    Though Eshleman’s writing has long incorporated prose prefaces and annotations, he regards “Notes on a Visit to Le Tuc d’Audoubert,” originally published in Fracture (1983), as inaugurating a definitive stylistic shift to a pluralistic or hybrid textual “anatomy.” Ostensibly notes taken on a visit to the cave, the mosaic includes photographs and sketches, roughly descriptive and allusive notes, and passages of dense poetic meditation. Eshleman borrows the word “anatomy” from Northrop Frye, who used it to describe William Blake’s “The Marriage of Heaven and Hell,” another collection of poems and prose, of fables, epigrams, and images. For Eshleman, the “term also evokes the writing that Artaud did beginning in 1945: a fusion of genres incorporating letters, poetry, prose, and glossolalia” (254). An anatomy is a text incarnate: a body of many organs and members. Eshleman’s anatomy includes poetry, prose poetry, essays, lectures, notes, dreams, and black-and-white and color images. Forty of the book’s three hundred pages consist of notes and commentary. Like “The Waste Land,” Juniper Fuse is a poem including footnotes, but Eshleman pushes this notion farther, in keeping with Charles Olson’s dictum that one should “leave the roots attached” (Olson 106). Juniper Fuse is a collection of poems but it is also a notebook on the composition of those poems.

     

    Juniper Fuse is a self-proclaimed poet’s book, written to “reclaim the caves […] for poets as geo-mythical sites in which early intimations of what we call ‘muse’ may have been experienced” (xii). The Vézère valley in the Dordogne–where many of these caves are to be found–is a region of France, but it is also a moment in time–the Upper Paleolithic–and a mythic space–Paradise, for Eshleman–all of which can be reclaimed by the poets (see “Cemeteries of Paradise” 101). Eshleman’s travels through and observations of the region form part of his autobiography. His appreciation of the period in time reflects his study of and contributions to prehistoric anthropology. His appeal to myth recalls his vocation as a poet. Paradise, for Eshleman, is a designation for the place first offered by Henry Miller, but it is also a religious sphere of primary concern to William Blake. The poetic tradition informs not only the language but the agenda of Juniper Fuse, a book that marshals the resources of poetic language in its investigation of the Paleolithic imagination and the hidden depths of the human mind. Poetic language, literature, according to Ezra Pound, is “language charged with meaning” or “news that STAYS news” (28, 29). The charge of Eshleman’s poetic language follows from its dense imbrication with complex meanings and associations.

     

    The “fuse” of the title, for example, is first and foremost historical, factual: it refers to the juniper wicks used in Paleolithic lamps found in the caves. The juniper fuse is the wick that provided the light by which prehistoric man painted the caves. Now, for us, the book casts a similar light on the paintings; not the light of creation, but that of a particularly active and engaged mode of interpretation. Eshleman’s primary question is why “such imagery sparked when and where it did” (xi, emphasis added). The spark of the image ignites the fuse. “Image sparks” is Nietzsche’s phrase for lyric poetry in section five of The Birth of Tragedy. The fuse is also the fuse of fusion: the fusion of man and cave wall in the process of engraving and image making; the fusion of poet and cave image casting image sparks, lyric poems. The fuse is also the fuse of a bomb (xi). The fuse is the fuse of fission, of atomic disaster, which haunts these pages: the images cast by the atomic blast at Hiroshima. “When such words fuse,/ they thirst in us, thus do not fuse,/ because we are fission incarnate” (112).

     

    Fusion is the fusion of language in puns. Here again Eshleman borrows his terms from Brown’s Love’s Body. Brown writes: “In puns, ‘two words get on top of each other and become sexual’; in metaphor, two become one” (252). Puns are the essence of symbolic consciousness, and symbolic consciousness is Dionysian consciousness; the erotic sense of reality; the fusion of subject and object via symbolism. This is not to say clarity.

     

    If there must be clarity,
    let it be opaque, let the word be
    convexcavatious, deep
    with distance, a clear
    and dense mosaic, desiring
    undermining.
    (Eshleman 19)

     

    Eshleman’s poetry is often a poetics in poetry: a meditation on and demonstration of the workings of the poem as they are at work. His poetic language is often, and often best, a language of puns, of slang, and of neologisms. It is a poetics of force and fracture: a contorted speech of words twisted and turned as Eshleman sifts the “etymological compost” of language (51). In “Winding Windows,” the word “convexcavatious” recalls Sandor Ferenzci’s exaggerated and visionary psychoanalysis wherein every convex surface is a phallus and every concavity a vagina. But it mingles the convex with its opposite through the notion of excavation, and thereby discovers the great theme of the book as a whole: the figure of the “hole that becomes a pole”; the vulva that seems to produce the phallus which Eshleman posits as the “core gesture” and “generator of image-making” (235):

     

    The hole that grows [...] may be one of the most fundamental versions of the logos or story. [...] Increasing in height or depth as the gods or shamanic familiars ascend or dive, the soul's end, or purpose is always beyond our own, a tunnel generating its own light--or crown of flame. It is a hole grounded in both absence and appearance, a convexcavatious abyss. (235-36)

     

    This poetics of force and fracture affiliates Eshleman’s poetic practice with that of a formidable if “minor” strain of twentieth-century writing whose exemplars include Raymond Roussel, the Joyce of Finnegans Wake, Antonin Artaud, Paul Celan, John Cage, Pierre Guyotat, Valère Novarina: writers who, in Novarina’s phrase, chew their words; they crush language, ruminate on its syntactic building blocks, and reveal its hidden histories and futures.

     

    Crawling through Le Tuc d’Audoubert, Eshleman “is stimulated to desire to enter cavities within [him]self where dead men can be heard talking” (72). “I feel,” he writes, “the extent to which I am storied” (92). Juniper Fuse begins, in epigram, with a poem by Paul Celan (in Cid Corman’s translation). Thereafter it borrows its terms and agenda from William Blake, Charles Olson, Hart Crane, César Vallejo, Antonin Artaud, and Aimée Césaire, among others. As a poem including history it must be read in the tradition of Pound, Williams, and Olson.

     

    But the poet here is also among prehistorians: the Abbés Breuil and Glory, Annette Laming, André Leroi-Gourhan, Siegfried Giedion, Max Raphael, Paolo Graziosi, Alexander Marshack, Jean Clottes, Margaret W. Conkey, Paul Bahn, David Lewis Williams, and Richard Leakey (xv). Eshleman’s dialogue with the discipline of prehistory is conducted more overtly than is his often-implicit continuance of the poetic tradition. This dialogue too is odd for its adherence to Blake’s maxim that opposition is the truest form of friendship. Eshleman argues with André Leroi-Gourhan, in particular, over and over again in Juniper Fuse. He writes as a perpetual outsider, even after twenty-five years of research and exploration in the caves; he refuses full participation in the dominant and dominating anthropological discourse on the caves.

     

    Another degree of disciplinary pluralism: the poet among psychologists and cultural theorists. Eshleman supplements the archeologists and anthropologists with reference to C. G. Jung, Sandor Ferenzci, Geza Róheim, Erich Neumann, Mikhail Bakhtin, Weston La Barre, Charles Olson’s Call Me Ishmael, Norman O. Brown, Kenneth Grant, James Hillman, Hans Peter Duerr and Maxine Sheets-Johnstone (xv). Here too is a tradition, this time in cultural theory. It is the countercultural tradition in cultural theory.

     

    Finally, though most importantly perhaps, the poet is among people. Jacques Marsal (1925-1988), for example, was among the children who tumbled into Lascaux in 1940: he never really left. He stayed nearby, leading tours and attending to the cave for the rest of his life. Eshleman celebrates him in “Like Violets, He Said,” a short text of prose and poetry accompanied by the famous photo which documents, in its way, the cave’s discovery. “I’m overwhelmed,” Eshleman observes, “by the difference one person can make in the personality of a place, not via declaration or sheer information, but by being folded in, obliquely, wearing Lascaux, allowing its grace to loom, allowing us, hardly aware of his movements, our own reading through his light” (98). The title of the piece comes from Charles Olson’s line, quoted in Eshleman’s poem: “Men spring up like violets when needed.” Paul Blackburn also appears. The piece is elegiac, moving. For Eshleman, the spirit of a place includes the spirits of those who have passed through it. The piece is metatextual, the stories layered in dense mosaic: Olson and Blackburn taught Eshleman to perceive such spirits, and Marsal became one of them just as Eshleman himself has now, for us.

     

    Juniper Fuse, far more so than the writings of the prehistorians, courses with reference, with story. The central contrast of the text is that between Eshleman’s subjectivity and the layers of reference–to poets, prehistorians, psychologists, and those others who have peopled his experience–through which he experiences not only the caves but the world. The motion of the text is characterized by Eshleman’s attempt to excavate, to get beneath these layers of meaning, reference, or explanation, to sift beneath these presences to what he only experiences as absence, loss, the zero, the hole (26, 235). “Pure loss pours through. I’m home” (100).

     

    Eshleman’s subjectivity, often present in rough physical terms, in-the-minute descriptions of the physical experiences of the caves, grounds the book. His response to the writings of the prehistorians is always to test their maps, their drawings, or their descriptions, finally their theories, against his own experience of the caves. If he corrects any given theory or explanation, as he often does, it is based on personal observation. He offers a careful description of crawling through caves, or of standing in a space that lacks sufficient oxygen, or of his eyes adjusting to the light of the dark. Such observations are denied us by the disciplinary responsibility of the anthropologists, the objective necessity of science. Juniper Fuse offers a phenomenology of the painted caves.

     

    The subject of the book, then, is decidedly Clayton Eshleman. But Eshleman both is and is not alone. A self-proclaimed and perennial amateur before the culturally legitimated authorities–the scientists, the anthropologists–Eshleman nevertheless speaks from the ground of a different authority. Awed and annihilated by the cave imagery that is his concern, he rediscovers himself in the animals and hybrid humanoids pictured therein. “If the figure of the interior leper took me backward, it was also a comment on the present: the rediscovery of my own monstrosity while studying the grotesqueness of hybrid cave image” (48).

     

    For Eshleman, “a single smoking road leads from Indianapolis [where he grew up] to Lascaux” (91). It runs via Auschwitz and Hiroshima. The history of man is a history of horrors.

     

    Faced with so much story, I release my grip
    from Whitman's hand, "agonies are one of my changes of
    garments"--in the face of Auschwitz?
    (93)

     

    In tracing the roots of symbolic consciousness, Eshleman has written a book of the dead, an incantation for absent beasts and beings. Odysseus stands in Hades as his tutelary figure (67).

     

    We are thus, in the late twentieth century, witness to the following phantasmagorical and physical spectacle: The animal images in the Ice Age caves are also the ghosts of species wiped out at the beginning of our Holocene epoch; today they "stand in" for the species we are daily eliminating. [...] Such images are primogeneous to the extinction of possibly all animal life. (248)

     

    Eshleman’s postmodernism is that of Charles Olson. In response to the totalizing, exclusionary, hierarchical trend in modernity, he speaks for those who cannot. In Juniper Fuse, he gives voice to the animals and humans, prehistoric or present, who haunt the caves. His celebrated corpus in translation–of César Vallejo, of Aimée Césaire, of Antonin Artaud and others–is but another form of this same project.


    Works Cited

     

    • Brown, Norman O. Love’s Body. New York: Vintage, 1966.
    • Eshleman, Clayton. Altars. Santa Barbara, CA: Black Sparrow, 1971.
    • —. Antiphonal Swing: Selected Prose 1960-1985. Ed. Caryl Eshleman. Kingston, NY: McPherson, 1989.
    • —. Fracture. Santa Barbara, CA: Black Sparrow, 1983.
    • —. From Scratch. Santa Barbara, CA: Black Sparrow, 1998.
    • —. Hades in Manganese. Santa Barbara, CA: Black Sparrow, 1981.
    • —. Hotel Cro-Magnon. Santa Barbara, CA: Black Sparrow, 1989.
    • —. Indiana. Santa Barbara, CA: Black Sparrow, 1969.
    • —. The Name Encanyoned River: Selected Poems 1960-1985. Santa Barbara, CA: Black Sparrow, 1986.
    • —. Under World Arrest. Santa Barbara, CA: Black Sparrow, 1994.
    • Ferenczi, Sandor. Thalassa: A Theory of Genitality. Trans. Henry Alden Bunker, M.D. NewYork: Psychoanalytic Quarterly, 1938.
    • Lewis-Williams, David. The Mind in the Cave: Consciousness and the Origins of Art. London: Thames & Hudson, 2002.
    • Hillman, James. “The Dream and the Underworld.” The Dream and the Underworld. New York: Harper, 1979.
    • Nietzsche, Friedrich. The Birth of Tragedy and the Case of Wagner . Trans. Walter Kaufman. New York: Vintage, 1967.
    • Olson, Charles. “These Days.” The Collected Poems of Charles Olson, Excluding the Maximus Poems. Ed. George F. Butterick. Berkeley: University of California Press, 1987.
    • Pound, Ezra. ABC of Reading. New York: New Directions, 1960.

     

  • Lyotard’s Anti-Aesthetics: Voice and Immateriality in Postmodern Art

    Gillian B. Pierce

    Department of Foreign Languages
    Ashland University
    gpierce@ashland.edu

     

    Review of: Jean-François Lyotard, Soundproof Room: Malraux’s Anti-Aesthetics. Trans. David Harvey. Stanford, CA: Stanford UP, 2001. (Originally published in French under the title Chambre Sourde: L’Antiesthétique de Malraux.Paris: Editions Galilée, 1998.)

     

    Soundproof Room, the final completed work by the cultural philosopher Jean-François Lyotard, reads like a crystallization of the essential elements of his 1996 biography of André Malraux, entitled Signed, Malraux (and also translated into English by David Harvey). Soundproof Room is rich in references to that text, but abandons the “junkyard writing” of the earlier work–a style that purportedly “apes” Malraux’s own writing–to return to the dense, poetic style more familiar to Lyotard’s readers.1 Although Signed, Malraux is a narrative of Malraux’s work and the life that is indistinguishable from it (and this from one who famously declared himself suspicious of “grand narratives”), Lyotard creates a new genre he calls “hypobiography,” declaring in effect that postmodern biography will be scenic, much as Malraux’s own work has often been called cinematic for its syncopated rhythms evocative of physical sensations. In Soundproof Room, subtitled “Malraux’s Anti-Aesthetics,” Lyotard clearly strives to elucidate the relationships between Malraux, politics, aesthetics, and Lyotard’s own body of work. The biographical concerns of Signed, Malraux are further condensed into moments or scenes of ontological questioning that beautifully, if stridently, illustrate the central concerns of periodization in art and the fragile status of the individual political or aesthetic gesture that have animated all of Lyotard’s work.

     

    Robert Harvey’s facing-page translation makes it convenient to consult the original French, which is useful for a text that rests so heavily on Lyotard’s previous work on Malraux, and on his own prior writings on aesthetics, notably in The Inhuman. For in positing the work of art as a soundproof room, as an “empty trachea […] in which silence might stir,” Lyotard further develops his fascination for the inhuman in art, for the way in which the work of art bears witness to the unpresentable, the “it happens” of the sublime developed throughout his oeuvre. Malraux as historical individual is subsumed; voice and ego are eclipsed, having gone over to the side of the third person, and out of this death comes an account of the renewal of the rise of the work of art. As Lyotard writes, “man is only that which exceeds the inhuman of artwork” (38).

     

    Malraux is not the first thinker Lyotard has adopted from an earlier period in the service of postmodernism: He is indebted to Kant (in The Differend and Lessons in the Analytic of the Sublime), Freud (in The Libidinal Economy), Diderot, Newmann, Duchamp, and even Rabelais–and yet it would be wrong to accuse him, as some have, of “modernist” tendencies. Postmodernism is a non-periodizing concept for Lyotard, one that arises out of a differend or irreducible heterogeneity, and must be viewed as a critical stance. Language is insufficient to convey an incommunicable content, and the postmodern arises out of this incommensurability. Malraux, in his life and work, repeatedly comes up against precisely this kind of a differend in which death (Lyotard’s La Redite, which Harvey renders as “the Redundant One”) appears as the only possible outlet. Lyotard has always interpreted postmodern politics and thought in terms of this sort of aesthetic formulation, and in Soundproof Room he reduces the biography of Malraux to its aesthetic heart: the quest for the limits of experience and the eclipse of the first person of biography by the annihilating, redundant force of death.

     

    Why should one talk about “anti-aesthetics” in Malraux? Aesthetics refers to the analysis of things perceived by the senses, to material forms, and has further come to connote a response to the beautiful in art or in nature, “taste” deriving from the Kantian sensus communis. But for Lyotard, as for Malraux, art evokes the sublime. There is no community of feeling or of like-minded connoisseurs, no recourse to reassuring forms. In The Inhuman, Lyotard writes, “we find sublime those spectacles which exceed any real presentation of a form” and “these works appear to the public of taste to be ‘monsters, ‘formless’ objects, purely ‘negative’ entities,” deliberately using the Kantian terms for the occasions that provoke the sublime sentiment (113, 125). An anti-aesthetics, then, would refer to the negative presentation of the sublime; that is, one can present merely that there is an immaterial absolute that can be thought beyond material representation. Throughout Soundproof Room, Lyotard will use the term “stridency” to refer to this monstrous apparition beyond the harmony of accepted forms, and he sees throughout Malraux’s life and work (as the two become indistinguishable, one “signing” the other) the attempt to bear witness to this unpresentable content.

     

    Soundproof Room follows no linear argument and develops instead according to the elaboration of a concept or theme in each chapter–for example, “Lost Voice,” “Scene,” “War,” “Stridency,” and “Throat”–just as Malraux himself rejected chronology in favor of the development of “scenes” in his writing. The first chapter, “To End, To Begin,” addresses precisely this question of linear development. Ending for Lyotard always implies continuation; the “break” of the end always presupposes the thinking of an “after,” a “post” (leading him to state that “modernity is constitutionally and ceaselessly pregnant with its postmodernity” [Inhuman 25]). In this proposition of the “post” Lyotard sees two heterogeneous levels: “the one on which things take place, and the one on which they are recounted” (4). In the words of Malraux’s Lazarus, “one has no biography except for others” (42). The modern, with its impulsion to exceed itself, upsets the principle of this gap to privilege the present, and for this precarious present moment Lyotard introduces the idea of “voice,” thereby summarizing the history of twentieth-century politics:

     

    The voice is incarnated and promises ultimate fulfillment through redemption from the pain of enduring. Such is the Christic mystery elaborated by Saul of Tarsus and Augustine and propagated by the West across two millennia of Western thought and practice. The diverse modernities that follow this initial move repeat the incredible gesture: Here is my body, says the voice, here and now. [...] In the American and French Declarations, the same ostentation: Here we are, free peoples. And in the Bolshevik Revolution: Power to the Worker's Councils (Soviets), right away and here. (6)

     

    Against the immediacy of the voice, Lyotard (with Malraux) locates the redundant and inexorable motion of history that dooms each of these narratives (or meta-narratives) to the pourrisoir or “rotting pit” of history. The voice is extinguished repeatedly and becomes inaudible, as “the West is condemned to this obscenity of repeating the gesture of beginning” (10).

     

    Lyotard situates Malraux’s work within the tradition of “writing at the limit of writing” (10) that includes Céline, Bataille, Artaud, and Camus:

     

    To append Malraux's oeuvre to this group is what I intend to do here. Despite some compositional shortcomings, a tendency toward the epic, a public speaker's eloquence--all of which caused it to be underrated--his work plunged no less than the others into the ontological nausea, was no less anxious to understand and to show how the miracle of artworks can arise. (10-12)

     

    In Signed, Malraux Lyotard fully demonstrates the theme of decay in Malraux’s life and work, in which death is not an end, but an endless recurrence of the same (l’éternelle redite). For in that work Lyotard concludes that the relationship between the living body (the bios) and the writing (the graph) are intertwined in such a way that Malraux’s life is “written” for his oeuvre, an oeuvre that draws so much from it. And life has no meaning for Malraux other than constant contact with death, which he defines in turn as a moment of life which can be metamorphosed into an artwork. This moment of creation is privileged by both Lyotard and Malraux.

     

    In a lengthy passage from Malraux’s The Royal Way, Lyotard demonstrates the continuity of the cycle of decay and regeneration in the oneness of the Khmer forest:

     

    Claude [...] had given up trying to distinguish living beings from their setting, life that moves from life that oozes; some unknown power assimilated the trees with the fungoid growths upon them, and quickened the restless movements of all the rudimentary creatures darting to and fro upon the soil like march-scum amid the steaming vegetation of a planet in the making. Here what act of man had any meaning, what human will could conserve its staying power? Here everything frayed out, grew soft and flabby, assimilated itself with its surroundings [...]. (14)

     

    This moment of ontological doubt in fact has its analogue in Lyotard’s thinking on the sublime, and his debt to Kant becomes clear. For out of the dissolution of the self and its assimilation into the surrounding landscape comes the reassertion of being through language. As Lyotard writes, “in the ostensibly mute swamp where everything gets engulfed, larvae stagnate by the billions, fomenting renewal. Plants, animals, humans, cultures: everything will begin again. Plots resume” (12).

     

    A central question of Lyotard’s book, then, concerns the state of first-person subjectivity in the face of death and so many “isms,” both political and artistic, doomed to decline, sameness, and assimilation. “What ‘I’ would still dare to introduce itself as master of narrative when the promise of final freedom that it proffers instantly runs aground on the inextricable and restrictive perversity of the language in which it is formulated?” (32) Malraux is acutely aware of the precariousness of the subjective voice, as evidenced by his interest in Jewish history and the “recounting of the forgotten voice” (26). Further, Lyotard sees a correspondence between Malraux’s psychology of art and the validity bestowed upon artworks and “this unforgetting of forgetting and listening to the inaudible whose is paradox is sustained in the Jewish tradition” (28). Malraux’s theory of art, his “anti-aesthetic,” may therefore be summed up by his realization that the artwork simply is without reference to a voice, an author, a reader, or a hero. It is authorized by no voice, and aims at no end.

     

    Art, for Malraux as for Lyotard, takes on the status of event, a birth outside of narrative in the face of the disappearance of the ego, at the very moment when it is no longer capable of “hearing its own voice” (36). The subjective element (ego) dissipates, making way for an absolute writing. At this moment “a ‘there, now’ oblivious to history slices the interminable ebb and flow with the thinnest of wires” (38). In this sense, the artwork means nothing, but is rather a singular arrangement of its constituent elements. It does not serve as self-expression or expose the subjectivity of its author, hence its “inhuman” stature. As Lyotard writes, “the artwork breaks with convention, with the commonplace, with the flow. It is obtained through a conscious and conscientious labor that relentlessly endeavors to lay bare the ego. Through art the human bends its will to strive toward this inhuman that sometimes forces it wide open” (50).

     

    What Lyotard admires in Malraux is his repeated gesture to transform the “staged idleness” of Europe in the 1920’s into an artwork, to take the raw material of life and impose on it a style. For it is the act of metamorphosis or rebellion that is valuable for Lyotard/Malraux more than the result of any such act. Human endeavors are doomed to redundancy at the hands of history, but something in the artwork resists this motion; the artist “plants his claw right into the event, and signs it” (64). The artwork thus produced is “reality gashed, short-circuited at a given moment on itself, a wounded mouth gaping over the void” (64). Following the logic of simulation, by substituting another world for the paucity of reality the work of art in fact forces the real world to confess that it is an illusion, an idea that Lyotard elaborates with respect to Diderot’s Salons in an earlier essay. For Lyotard, the act of metamorphosis (or the act of rebellion on the political plane) is essential as an assertion of being, whether or not it is doomed to failure. The gesture is born of nothing (“idleness,” or “the void,” to use two other of Lyotard’s formulations), and makes war with this nothingness; as such it is an indispensable affirmation of being or presence.

     

    The metaphor of war is central to Malraux’s life as well as to his art. Not only is life a continual war with death, but artistic creation is a war with nothingness. Lyotard contends that wars and revolutions are opportunities for Malraux to come to terms with the limits of experience and to demonstrate that “we die and write for nothing” (66). And writing does entail a kind of death, that is to say the eclipse of the ego in favor of a different “I”: the monstrous “I without a self.” For this reason, Lyotard contends that “war is not the confrontation one thinks it is” and the battlefield is not a place so much as an internal struggle between ego (le moi) and the “I” of writing (le je d’écriture) (68). The image recalls Baudelaire’s image of the artist as escrimeur in “The Painter of Modern Life,” his essay on Constantin Guys: “c’est un moi insatiable du non-moi” (552). This same impulse causes Lyotard to ask, in his introduction to The Inhuman, “what if human beings […] were constrained into, becoming inhuman?” (2). War, indeed, is a differend.

     

    The thesis of the “I-without a self” in Malraux and throughout Soundproof Room refers to the dimension of a self that is not within life–one might say the inhuman. According to Lyotard, “it evokes a closure, a deafness, but also the insistence of an anguish that biographical time, which resists it, does not sweep away in its flow” (86). Having written extensively about visual artists and art throughout his lifetime (Duchamp, Monory, Adami, Newmann), Lyotard nonetheless introduces an aural metaphor to describe this anguish: “painting is not for seeing,” writes Lyotard; “it demands this listening: the eye listens to something beyond the harmonious music of the visible” (100). This “something” is what Lyotard calls stridency, a sound lacking bearing and restraint through which “the unheard-of is exhibited, in a flash, at the threshold of the audible.” (76).

     

    We don’t hear ourselves through our ears, according to Malraux, but rather through the throat. The figure of “hearing through the throat” also leads Malraux to a figure for communion, since “one hears that other whom one loves, if one loves him like a brother, with one’s throat” (86). For Lyotard, this is the central intuition of Malraux’s theory of aesthetic creation as elaborated in his numerous essays on the psychology of art. This is the essence of Malraux’s anti-aesthetics, in which what is left of subjects communes through what cannot be shared–something like the return to the ineffable in art, a response to the work of art as event or happening in all its singularity. Art is thus an expression of stridency, the unheard-of, a violent act of giving form to the formless, with all of its parallels in the Kantian sublime.

     

    The Kantian sublime resists the sensus communis and the “good taste” of the beautiful, but Lyotard’s formulation of the “it happens” of aesthetic experience seems to offer the hope of communion, albeit of a limited sort: “just as we are lovers or brothers through fusion of airtight throats, the artwork places absolute solitudes in communion with each other and with the stridulation of the cosmos” (102). And yet there is no hope for mediation or dialogue between or among these solitary entities. “Singularities fuse only to the extent that they cannot exchange or hear each other” (102). The outer form of the work, its facies is a mere simulation, or dissimulation; the “soundproof room” of its empty inside “allows the mask to pick up the truth–nothingness–in the form of strident apparitions” (104).

     

    In the final chapter of Signed, Malraux Lyotard evokes Malraux’s concept of a museum without walls, a “place of the mind” impossible to visit that rather inhabits us (304). For Lyotard, as for Malraux, great works of art are sublime epiphanies, “brush strokes of the absolute” (303). A precarious museum that lives within, apart from the corrupting narrative of art history, Malraux’s gallery exists in limbo, in this zone of the ineffable. The museum without walls represents what Lyotard calls “a perpetual disturbance”; no institution can be established based upon it. Art offers the promise of escape (rather than escape itself), and an intimation of truth as stridency.

     

    The question of biography and the dynamic by which a body of work can “sign” a life and vice versa surface at the end of the philosopher’s life in Signed, Malraux and Soundproof Room. The idea of an inhuman art that regenerates beyond the grave is therefore all the more pressing. Lyotard’s works have asked the most provocative questions of postmodern theory: From “What is the Postmodern?” to “Can Thought Go on Without a Body?,” Lyotard persistently returns to questions of presence and the status of the human, often expressed in terms of an irreconcilable differend. Soundproof Room is an important culmination of this body of writing and necessary reading for theorists of the postmodern in art and politics.

     

    Notes

     

    1. Robert Harvey has commented on the heterogeneity of Lyotard’s writing, and thus characterized the style of Signed, Malraux, following Lyotard’s own characterization of Malraux; see Harvey 99.

     

    Works Cited

     

    • Baudelaire, Charles. “Peintre de la vie moderne.” Oeuvre completes. Paris: Editions du Seuil, 1968.
    • Harvey, Robert. “Telltale at the Passages.” Yale French Studies 99 (2001): 102-16.
    • Lyotard, Jean-François. The Inhuman: Reflections on Time. Trans. Geoffrey Bennington and Rachel Bowlby. Stanford: Stanford UP, 1991.
    • —. Signed, Malraux. Trans. Robert Harvey. Stanford: Stanford UP, 1999.

     

  • Virtually: The Refreshment of Interface Value

    Robert Payne

    School of Humanities
    University of Western Sydney
    r.j.payne@uws.edu.au

     

    In April 2002, the Supreme Court of the United States handed down its ruling of Ashcroft v. Free Speech Coalition, a case in which a certain semantic specificity seemed ultimately to take precedence over the moral and emotional imperatives that propelled the central argument of the petitioner. The U.S. government (nominally represented by Attorney-General Ashcroft) was seeking to overturn a Court of Appeals ruling against the constitutionality of its Child Pornography Prevention Act (1996), which had greatly–through a significant conceptual leap–expanded the category of what would count as child pornography. As cited in the Supreme Court ruling, the bill (CPPA) now prohibited not only pornographic images produced using actual children, but also “any visual depiction” that “is, or appears to be, of a minor engaging in sexually explicit conduct,” as well as any sexually explicit image that is “advertised, promoted, presented, described, or distributed in such a manner that conveys the impression” that it depicts a minor engaging in sexually explicit conduct (1).

     

    These qualifying phrases (which I have emphasized), designed to make child-harming pornography harder to produce and distribute, opened the frame of prohibition to extremely nebulous territory. In so doing, they curiously destabilized a conventional application of visual epistemology: one based on the evidentiary function of photographic and video images, of the kind frequently upheld in legal contexts. A distinction between the actual and the virtual was inscribed in the bill and instantaneously erased. The government’s petition to the Supreme Court describes Congress’s findings that it is possible to produce pornographic images of “what appear to be” children “that are virtually indistinguishable to the unsuspecting viewer from unretouched photographic images of actual children” (4). In their zeal to speak for and to protect the unnamed and “unsuspecting” viewer, the legislators of the CPPA betrayed their own oversuspecting unwillingness to tell actual and virtual children apart, and transposed this into both an assumed inability on the part of their constituents at large, and a projected criminal exploitation of the potential representational ambivalence that is permitted by new media technology.

     

    In ruling against the government’s petition, the opinion of the Supreme Court delivered by Justice Kennedy questions the logic of the CPPA’s definitional expansion, noting that the production of virtual child pornography can scarcely harm children if none are involved in the process. It is here that the government’s position makes a further leap of presumption, now explicitly naming its legislative target and the kinds of harm that might be inflicted by pornographic images of “what appear to be” children. In its Congressional Findings, supplementary to the CPPA, the government claims that

     

    child pornography is often used as part of a method of seducing other children into sexual activity; a child who is reluctant to engage in sexual activity with an adult, or to pose for sexually explicit photographs, can sometimes be convinced by viewing depictions of other children "having fun" participating in such activity

     

    and furthermore that

     

    child pornography is often used by pedophiles and child sexual abusers to stimulate and whet their own sexual appetites, and as a model for sexual acting out with children; such use of child pornography can desensitize the viewer to the pathology of sexual abuse or exploitation of children, so that it can become acceptable to and even preferred by the viewer (n.3, 4).

     

    One wonders whether “the viewer” in question here is the same “unsuspecting viewer” to be protected from the burden of virtual indistinguishability, and by extension whether members of Congress who were initially able to tell actual children from virtual (if only then to deny the distinction) were themselves subject to the insidious desensitization of which they warn. The wording of the findings would seem to demarcate “pedophiles and child sexual abusers” as a discrete unit of pathological individuals, one which maintains some exclusivity over such “use of child pornography.” If, however, the material in question is able to “desensitize” its viewer, and if such images are ineffably capable of transmuting appetite into conduct and also of “seducing other children into sexual activity,” might such slippages be as logically applicable to determining who is susceptible? In other words, if such material is as contagiously effectual as these findings imply, why are only “pedophiles and child sexual abusers” incriminated? The possibility of desensitized viewing is opened to those for whom child pornography has not yet “become acceptable […] and even preferred,” where this is apparently a desire that might be learned by effectively anyone who comes into contact with the material.

     

    Also in 1996, Congress passed a similarly censorious legislative act, framed more specifically around prohibiting the provision to minors of “indecent” material on the Internet. The Communications Decency Act (CDA) sought to incriminate anyone who “knowingly”

     

    initiates the transmission of [...] any comment, request, suggestion, proposal, image, or other communication which is obscene or indecent, knowing that the recipient of the communication is under 18 years of age (§223(a)(1)(B)(ii))

     

    as well as sending to a minor via “interactive computer service”

     

    any comment, request, suggestion, proposal, image, or other communication that, in context, depicts or describes, in terms patently offensive as measured by contemporary community standards, sexual or excretory activities or organs. (§223(d)(1)(B)

     

    The act was successfully challenged in a district court by the American Civil Liberties Union, and this decision was later appealed and affirmed in the Supreme Court in Reno v. ACLU (1997). That court ruled the act unconstitutional on the grounds that the above provisions inhibited free speech. Where the constitutional legalities of this bill were informed by precedent cases that had defined current understandings of “obscene” and “indecent” and the relationship of these terms to freedom of speech, the more significant elements for my reading are the cultural implications that derive from the terms “transmission” and “communication.” I am suggesting these terms render more explicit an anxiety about the contagious effects of “patently offensive” material, especially when that material describes a corporeality centering on the contentious zones of “sexual or excretory” organs. As Judith Butler argues in Gender Trouble, these anatomical parts and their function as orifices of sexual and excretory activity locate points of weakness in the fictional seamlessness of the body as a discrete subject, the maintenance of which serves the political imperatives of a larger social body (14ff).

     

    The open textuality of the Internet as a literal web of image and information availability suggests fertile conditions for a promiscuity that incites the spread of moral panic. Particularly, as the above cases demonstrate, the Internet provides a freedom deemed too dangerous in proximity–the proximity of transmissible contact–to society’s putatively vulnerable populations. In these specific ways, the charge of “knowingly” transmitting obscene material implicitly tropes the vindictive homophobia inherent to certain AIDS panics: namely, that HIV-positive gay men might target “the general population” for deliberate infection; or, relatedly, that HIV transmission establishes categories of innocent reception and, therefore, of guilty perpetration (see Watney; Sontag).

     

    That Ashcroft v. Free Speech Coalition and Reno v. ACLU were decided according to legal precedents around speech, and its protection under constitutional amendment, offers further instances of what Butler (in her later work Excitable Speech) terms the law’s “catachrestic extensions of ordinary understandings of speech” (72). Butler’s context is the performativity of speech into action, and she discusses examples of the transitive relations between the two: where an act (placing a burning cross on an African American family’s front lawn) may be legally protected as speech, or where utterance (members of the U.S. military announcing their homosexual identity) may be construed to be and punished as conduct. The cases she explores hinge on the arbitrary placement of limits to self-expression, and the political negotiations around the purported freedom thereof. According to her sustained analysis of the U.S. government’s policy on gays in the military, in which the verbal self-expression of homosexual identity becomes a punishable offense, the word “homosexual” becomes a medium of contagion, “whereby to hear the utterance is to ‘contract’ the sexuality to which it refers” (113). It is this conceit of contagion, in which homosexuality is “figured implicitly on the model of AIDS,” that allows Butler to elaborate meanings of “communication”: the utterance of speech–of a particular word laden with contagious cultural implications–is received as having communicated “along the lines of a disease” (110).

     

    The concept of moral panic was elaborated by Stanley Cohen in this now-famous opening passage to his 1972 study of “deviant” youth culture and conflict in Britain:

     

    Societies appear to be subject, every now and then, to periods of moral panic. A condition, episode, person or group of persons emerges to become defined as a threat to societal values and interests; its nature is presented in a stylized and stereotypical fashion by the mass media; the moral barricades are manned by editors, bishops, politicians and other right-thinking people. (9)

     

    Where Cohen highlights the role of the mass media in “defining and shaping social problems” in such a way as to generate “concern, anxiety, indignation or panic,” I am concerned to identify more complexity in the role of mass media in the contemporary context: as the site of the threat itself, where media representations are regarded to be as dangerous as that which, previously and concurrently, the media merely reported to be dangerous (17). A central feature of moral panic in this context is that its own defining dynamic echoes that which provokes its outrage. Panic spreads in proportion to the epidemic social ills whose momentum and dispersal it fears. Curiously, while in the legislation I have discussed speech is figured as the performance of dangerous acts, these laws are themselves prohibitions of speech by acts of Congress. Indeed, the name Congress might be said to perform the very same communicative, infectious dynamic that its acts wanted to prohibit.

     

    For Simon Watney, writing of media representations of AIDS in the 1980s, moral panic theories fall short in that they are “always obliged in the final instance to refer and contrast ‘representation’ to the arbitration of ‘the real’,” overlooking the workings of ideology “within all representational systems” (41-2). In other words, an oppositional politics of dismissing the ideologically panicked inaccuracies or misrepresentations of a verifiably “real” situation (such as an overrepresentational link between AIDS and homosexuality) must still recognize that this position of dismissal is no less discursively constructed and dependent upon its own biased representations. Where media representation is the source of moral alarm (Internet obscenity, virtual child pornography) as well a site for the sounding of this alarm, the very nature of representation becomes ever more contentious. As Watney reminds us, representation locates a “permanent ideological struggle over the meaning of signs. A particular ‘moral panic’ merely marks the site of the current front-line in such struggles” (42).

     

    In the panic I have been discussing, it is the particular kind of media representation that lends itself to an increased struggle for meaning, precisely as conventional holds on “the real” fall away. The censorious legislative attempts of both the CPPA and the CDA constitute anxious responses to the disappearance of the real into the virtual, a terrain in which existing legal sanctions (as the Supreme Court affirmed) fail to apprehend the representational relations that are ruptured and renewed in digital and online technologies. The specific virtualities named by Congress’s acts of censorship are recent technological developments: digital enhancement, alteration, or fabrication of images, and the Internet’s networks of teleconnectivity in which identities as well as images may be subject to enhancement, alteration, or fabrication. Concrete framings of law are clearly challenged by the inherent immateriality of these new modes of representation.

     

    The concept of virtuality itself is not exclusive to the late twentieth century and the postmodern cultural frame as innovations such as virtual reality might have us believe. New media parlance has appropriated the word “virtual” as a prefix, akin to “cyber” or “hyper,” denoting the new ontologies of digital experience. Margaret Morse discusses virtuality as “the present subjunctive mode of a fictively shared present,” a definition which might encompass, as Morse outlines, the collective and yet individuating address offered by radio and television, or even less technologically advanced forms of interaction:

     

    Cultural forms from television graphics and shopping malls to the apparatus of virtual reality, as well as practices from driving to conducting a war to making art employ various forms of engagement to construct a virtual relationship between subjects in a here-and-now. (4)

     

    Virtual relationships exist between reader and fictional character, spectator and film or theater character; between shoppers in the fictional enclosure of a mall, tourists mediating their presence at a tourist attraction, and computer users communicating in an online chatroom. Internet users worldwide are engaged in a shared fiction, built around a joint practice that resembles the common experience of TV viewing. Even on a basic level, the computer screen deliberately remodels the design and function of the TV screen and relies to some extent upon our familiarity with these features. The virtuality of the Internet, however, lies more fully in the fictions of connectivity that its networking function allows: the various forms of physical and interpersonal telepresence promised to anyone who gains access to its web. The Internet creates the ability to achieve virtual contact with virtually any person, image, or information where optical and aural contact stand in for the tangible, which cannot cross (but can equally pertain to) the mediating apparatus. In this sense, it brings together and capitalizes on other virtualities (including tourism, television, shopping malls) with a much greater technological capacity and a much increased aptitude for the elaboration of its fictional ontologies.

     

    In what ways might these notions of the virtual imply the viral? How are virtual relationships, which theoretically do not require actual contact or proximity between subjects, deemed to be viral relationships in which dangerous or unhealthy matter might be communicated? The textuality of the Internet permits anxieties of authentic subjectivity to surface, where the coherence of the individual subject and the body to which it is believed intrinsic are superseded by relationality: the network of possibilities in which the subject might find multiple connection. This form of interaction marks not the loss of subjectivity but the appearance and reproduction of new, posthuman, noncorporeal subjectivities that can, nonetheless, be launched from the corporeality of computer users who might only be connecting, in actuality, with their interface. As several scholars including Sherry Turkle have noted of their own interface connections, the relationship between computer user and the apparatus itself should not be overlooked. Emotional and physical responses to the apparatus, attached to which users may frequently spend many hours a day, constitute moments of actual, corporeal tangibility that not only shadow but precede any instances of virtual connection within the cyberspatial network.

     

    In the rest of this essay, I will focus on a mode of constructing online identity that, while ostensibly received by users through a relationship of telepresence, significantly foregrounds its own mediating apparatus. Where personal webcams intend to engage the ontology of transparent surveillance available through user screens, I will suggest that in effect they offer a representation of life (after Turkle) very much on the screen.

     

    I

     

    Personal webcams are a genre of Internet sites devoted to the broadcasting of live, digital video images, captured by a web camera itself, from inside private homes and workplaces. Such sites, which are also known as “homecams,” “livecams,” “girlcams,” “gaycams” and so on, have exploded in number and popularity since the late 1990s, partly for their ease of operation: the operator need merely attach a relatively inexpensive webcam to his or her personal computer and, having met specific hardware and software requirements, upload its images on to the Internet. When images appear on viewer screens, they are usually still and will “refresh” (update) with a regularity that varies from site to site–generally within a range of once every 30 seconds to once every 15 minutes. Few sites have an increased capacity to provide “streaming” images, like video. The formal defining features of personal webcams are liveness and constancy, creating the effect of an ongoing and indiscriminate visual record of everything taking place within the camera’s field of visibility while it takes place. If not for physical distance, we understand, the viewer could be overcoming barriers of privacy to witness everything taking place firsthand.

     

    Unlike the significant raft of outdoor webcams (whose framing of scenic or otherwise notable sites provides universalized views of nothingness), domestic webcams offer at a basic level the conceptual titillation of access to private space, and an apparently uncomplicated fulfillment of peepshow voyeurism. Numerous webcam sites capitalize on this specific market potential, some allowing viewers to pay for increasing levels of access to variously sexualized or pornographic displays. Other similar sites offer the viewer an interactive role in requesting the details of such displays: a kind of sexual “telerobotics” that conflates the performativity of computer command with sexual command.1 Many noninteractive webcams feature generic disclaimers about sexual content, as a counterpoint to acknowledging incidental nudity or sex. The now-defunct Sean Patrick Live! (formerly www.seanpatricklive.com), the webcam of a young gay Washington D.C. man, featured a common version: “There is no planned nudity or ‘shows’. However, as this is a candid view into another persons life, it is not intended for children [sic].” Interestingly, Williams’s appearances on cam were frequently nude, and his site’s selective archive of previous cam shots (also available for purchase) contained a high proportion of nudity and some sexual activity. The cam shot, in its commodifiable format, here converges with the pornographic “cum shot” or “money shot” (Williams). The archive is a display of highlights to advertise what was only rarely visible, and would not necessarily be again.

     

    Jennifer Ringley, a pioneer of personal webcams through her site JenniCam, continued to display herself on camera for over seven years, “not because I want to be watched,” she wrote on her site, “but because I simply don’t mind being watched” (<www.jennicam.org>).2 Her rationale addresses a common anecdotal belief that webcams are borne necessarily of simple exhibitionism, and by extension that the basis of self-display is sexual exchange. Visitors to JenniCam were greeted with two viewer category options: member or guest access, where members were required to pay a subscription fee for images that refreshed more frequently (every minute rather than every 15 minutes). Membership also afforded access to a fuller archive of previous JenniCam image galleries, whereas guests could only view a selection that the site nonetheless called a “pretty comprehensive overview.” Notions of member and guest access encapsulate the entirely ambiguous relation between publicity and privacy that the Internet inheres. Member and guest status both connote a minimum of invitation and discrimination, a limited accessibility that the promiscuous nature of Internet browsing denies in advance. JenniCam‘s constancy of access and complete lack of visitor discrimination subverted any attempt at exclusivity that notions of membership, and even access to private space, might hope to offer. The extra level of access afforded members compounded the site’s knotting of privacy and publicity: while members were permitted the privilege of increased privacy, or access to 14 images per 15 minutes that remain private to others, what was actually offered to members was an increased unveiling or publication of private space. More of the private equates with more of the public. Any seeming opportunity to attain proximity to Ringley through the financially driven priority access on which her site literally traded needed to be content with her simulation projected on that which separated her from us. JenniCam‘s seduction into increased privacy encouraged viewers to overcome the surveillance apparatus–to look through the obstacle of the screen–but only by focusing on the textuality of this very apparatus and the finite potential that it offered.

     

    In an article purportedly analyzing the post-feminist implications of the increased number of young women and teenage girls operating personal webcams, Susan Hopkins arrives at some ideological difficulty absorbing the practice among these “Camgirls” of posting “wish lists” on their sites. As a form of online gift registry, often linked to sites such as the Internet-based bookseller Amazon.com, the posting of wish lists is a phenomenon not exclusive to webcam operators or even young female webcam operators. For Hopkins, wishlists are “the most controversial feature” of camgirl sites, whose operators “encourage their fans to buy them books, CDs and other gifts.” Despite warning against generalizing about the vast range of these sites, Hopkins goes on to claim that it is “no surprise that the most attractive Camgirls–with exhibitionist tendencies–tend to receive the most gifts.” Aside from the simplifying assumption that webcams are necessarily exhibitionist–manifesting what she calls “the urge to be on camera 24 hours a day”–there is little understanding in Hopkins’s observation of the pragmatic utility of the wishlist. Rather, she focuses on an unsubstantiated dynamic of transactional expectation, of some moral concern, which she considers to be “virtual prostitution.”

     

    The term “virtual” here interfaces two connected meanings: the current synonymity with “online” I have already mentioned, connoting a digital or specifically Internet-based status; but also a more general sense of adequate approximation, the tantamount. “Virtual prostitution” stands as a brisk conclusion, then, to Hopkins’s own virtual analysis, which discerns and then appears to ignore that online relations–not to mention post-feminism–discourage being described in oppositional binaries:

     

    Men have been exploiting and objectifying women in cyberspace for years. What's new is that the Camgirls have taken control of this process--and cut out the middleman. So the line between victim and perpetrator is blurred. These young women offer only their image, while lonely (typically male) spectators send fan mail, gifts and cash "donations." Well might we then ask, who is exploiting whom?

     

    In a similarly pitched article in online magazine Salon (which Hopkins refers to), Katharine Mieszkowski attempts vernacular detachment to disguise her suspicious unease, suggesting webcam-based wishlists as “an online beg-fest that makes it easy to take candy from strangers on the Internet.”3 While being sure to deny the false representation of the Internet as “one big cesspool of pedophiles and pervs searching for unsuspecting and underage kids to prey upon,” Mieszkowski nonetheless finds this profile hard to ignore, presuming to universalize what is merely her own distaste: that “the spectacle of teenagers displaying themselves online in exchange for material favors is something that could make anyone a little queasy.” Mieszkowski shares Hopkins’s eventual, conceptual approval that camgirl sites, and their posting of wishlists, represent an empowering set of self-determining practices for young women. It is their contextual ambiguity that remains of inexplicit concern to her, however. She argues that “the Web has a way of making even the most straightforward picture of a 14-year-old caught on her webcam into a pornographic image,” a claim that appears to refer to the practice of various other websites of archiving a mixture of camgirl shots with unrelated pornography, and perhaps to the potential for digital alteration of images.

     

    The anxiety these writers share seems to derive less from a view of webcams as morally suspect or of wishlists as an incitement to predation than from vaguer but deeper insecurities of unknowing that are inherent in these media. Both articles operate, albeit with considerably less rhetorical outrage, on a similar conceptual plane to the semantic and legislative flounderings of Congress’s attempts to criminalize what was, by its own logic, entirely imprecise and perhaps even unrecognizable. Ambivalent charges of “virtual prostitution” and of the susceptibility to exploitation of images amidst the Internet’s virtuality of relations point to the failings, for these writers, of conventional epistemology and the insidious treachery of telepistemology. To reiterate Morse’s definition, virtuality operates in a “subjunctive” mode, implying a grammar of conditional, hypothetical, or contingent relations to a predominant ontology. That which is subject to this mode (uncertain relations between camgirls and their fans; images that “appear to be” of children engaging in sex acts) refuses to make its status known, or even knowable, forcing a continuous hedging of bets. The virtual occupies, then, the indefinable and liminal space on the threshold between known and unknown, knowing and unknowing. The disquiet that preoccupies the above accounts of virtuality focuses, I propose, on the presumed and inexact performativity of the virtual; the failure of the threshold of knowing to contain the flow of the unknowable. At the same time, it is this very imprecision that renders the virtual so compelling.

     

    In a discussion of her acquiescence to the “holding power” of personal computers, Sherry Turkle notes it is “striking that the word ‘user’ is associated mainly with computers and drugs” (30). The trope of addiction that she acknowledges would figure computer use as an everyday dependency or habit. Turkle prefers to articulate her own use in terms of “seduction” rather than the “cliché of addiction,” and locates her attraction in the “possibilities of ‘conversation’ among the multiple windows on my screen and the way an instantly responsive machine allays my anxieties about perfection” (30). A sense of relationality with her computer seduces Turkle, and not the machine’s external agency, like that of a drug acting upon her. What she shares, then, is the virtuality of fictional presence. And in the fact that seduction operates at least initially on the level of appearances, the virtuality that seduces Turkle is (as she affirms) that between herself and the interface, and not between herself and what this seductive surface claims to disclose. For Jean Baudrillard, seduction is that which challenges the order of production; as a strategy of pure surfaces, it battles our cultural impetus “to produce meaning, to make the world signify, to render it visible” (63). Seduction is complicit in the fabrication of the fulfillment of its own goal: it champions the attraction of a surface that promises and ultimately outshines a cache of meaning beneath.

     

    In that the personal webcam is formally structured by a continuous visual unfurling, it resembles a kind of striptease: the very topos of seduction whose narrative at once manufactures a secret of invisibility and continuously reproduces its own narrative process toward this goal. The webcam more closely approaches Baudrillard’s notion of seduction in that its seductive effectuality is to deny the teleology of the striptease narrative. The webcam’s resolute and noninteractive performance of everydayness perverts this teleology entirely by failing even to fabricate a secret of invisibility. Rather, it enacts a counternarrative of unlayering and relayering, a continual promise and denial of fulfillment. Paradoxically, this counternarrative is based on the narrative of temporal routine; and in that the mechanical process of image refreshment constitutes, by technological default, only an approximation of the moving image of film or video, we read the images as a narrative sequence. Just as the continued use of a drug of dependency gradually fails to provide the satisfaction inherent in its initial seductiveness, the personal webcam may recreate an analogous pattern of habituation. Seducing the user by the interface’s promise of access to a deeper level of fulfillment–beneath the surface, through the window–the webcam encourages habitual viewing by appearing with every new image to come closer to spectatorial satisfaction but simultaneously deferring to the potential of the next image.

     

    But how satisfying can the seduction of constant deferral be? The webcam frame need not and frequently does not contain any evidence of its subject. Hours may pass in which the camera captures an empty room. And even if its operator does appear in the frame, she may not be doing anything more “performative” than sleeping, possibly turning over in bed every now and again. Given that these hours constitute a significant proportion of available viewing, why do we still bother to watch? Moreover, if the seduction of the webcam interface is that it promises to disclose a kernel of identity, in a regulated and iterative process, are we really coming closer with each image to gaining insight into webcam operators’ lives and identity? Are we really seeing through the screen?

     

    In their use of the transparent window device, webcams most obviously demonstrate their lineal connection to television, and especially to what Jane Feuer calls “the ontological glory of [that] medium” (15). Television relies partly upon a perceptive agreement to the transparency of its screen, where the screen is merely a frame through which the viewer is able to see events that are, ideally, taking place instantaneously. Rather than exploiting a viewer’s naïveté, according to Morse, the transparency effect of television entails viewers’ “willing collusion in rituals and conventions” that comprise the televisual experience: a process of disavowal of what may defy logic or fact (18). Viewers agree to suspend disbelief in the unknowable virtuality of television’s liveness and its direct mode of address to them: to incorporate the televisual interface’s imposition of various intermediary devices, such as the graphics and multiple viewing frames.

     

    Raised on television, Internet users approach the webcam frame with the same split belief system. The webcam’s interface both encourages and discourages the transparency effect of its post-televisual surveillance function. Arguing that panoptic societies manufacture the illusion of privacy and secrets as accessible realities behind screens of surveillance, William Bogard questions the conceptual validity of disclosure in telematic societies. “There, if we can still speak about the secret at all,” he writes, “it is only in relation to a private space, a private person, that has been absorbed into the screen itself” (126). The personal webcam’s hyperreal body is not so much beyond or behind the screen as on the screen. The screen defines and sustains it. In Bogard’s terms, webcams simulate the surveillance common to earlier screen forms, such as closed circuit TV. Where surveillance unmasks the presence of the real, Bogard argues, simulation masks its absence. The surveillance apparatus attempts to render the mediating surface of the screen transparent; simulation dissolves the surface as a medium of appearances to provide immediacy, not to the real but to the hyperreal (19-21). The seductive impetus of telepresence in this technology–to achieve mutual proximity with a remote body or location–becomes irrelevant in that the remote bodies of webcam operators are immutable. Rather, simulated versions of their authentic identity are all that is available to viewers, and these exist solely on the interface that claims to make visible their reality.

     

    The interface and its various formal features, however, remain constantly present and tangible to the viewer. When Turkle writes that we have “learned to take things at interface value” (23), she is drawing an explicit link between users’ increasing comfort with the multiple-windowed interface of current computer technology and a broader cultural shift toward the acceptance of simulation and away from the epistemological impetus of transparency. “We are increasingly accustomed to navigating screen simulations,” she claims, and this is part of a reduced “modernist desire to see beneath the surface into the mechanics of the operating system” (41-2). The ongoing popularity of personal webcams attests to the continuance of a not insignificant desire in our culture to see through various screens of interpersonal separation. My argument, however, shares Turkle’s belief in interface seduction: there is a major and even defining sense of tactility to webcam use, based not simply on the thrill of technological innovation but also on the seamless integration of this technology into our everyday experiences and practices.

     

    While the imposition of multiple interface elements aims, like broadcast TV, to assist a project of transparent transmission, it is these elements (and not what they make visible) that form the means to compel the webcam viewer. If the webcam window provides an automated oscillation between the spectacle of nothing and the promise of something, it is in this formal process (and not in its dubious content) that lies the webcam’s narrative. And while the regulated rhythms of image refreshment render this process strictly mechanical, the seconds taken for each new frame to open simultaneously locate the spatial compression of narrative contingency. The intervening download time while each image discloses itself offers the webcam’s only limited opportunity for the viewer to interpret the hypothetical and unexpected nature of its virtuality. Sometimes known as “Reload,” “Refresh” is a standard command on web browsers, allowing the user to recommence or update the downloading of a site. The image or site is at its most fresh during this process, given that it may be refreshed again at any time after the download. If the webcam image refreshes itself every time it updates, during the very moment of changeover, what happens to it in between? For the image to require refreshment implies its gradually decreasing freshness and, therefore, its gradually increasing staleness. Replaced with a fresh image after a programmed delay, each previous image is deemed to have gone stale, no longer fresh with narrative possibility.

     

    Marina Grzinic’s comments on the frustrations and imperfections of telepresent technologies are resonant here. Drawing on Walter Benjamin’s famous theory that an object’s aura–its “unique appearance or semblance of distance” (cited Grzinic 215)–is destroyed by its reproduction, Grzinic attempts to recover aura in telerobotic technologies. She proposes transmission time as the digital media counterpart to photography’s exposure time, which she discusses, after Benjamin, as allowing the spatio-temporal specificities of the object to be traceable in its image. Where the transmission time of telerobotic (and by extension webcam) technologies manifests in download delays, it “forces us to think about the network of modems, routers, servers, and telephone lines that the image must travel in order to get to us” (221). Time delay confirms both the spatial and temporal distance of the object. Furthermore, Grzinic continues, these technical practicalities tend to produce discontinuities in the image, such as the “choppy and unnatural” motion of objects hopping that slow image refresh rates generate (221).

     

    Grzinic’s argument for the compelling visual quality–the aura–of these imperfections supports my contention that the potential for narrative involvement in webcams lies in the textuality of their interface. Jon Dovey has commented on the perplexing realist authority invested in the aesthetic of “wobblyscope” video images, particularly in conjunction with surveillance media and home video (64). By the same token, the imprecision of unclear image quality and delays in the unfurling of webcam images provides the very points of interest for viewing in that they necessarily leave room for epistemological frustration. Grzinic likens transmission delays and slow refresh rates to “a fingerprint on the film, a drop of water on the lens”: they are “evidence of the image” (224). To my analysis, they are also evidence of virtuality and a tantalising, compelling hindrance to visual certainty. They offer viewers recourse to narrative precisely where the image content deters narrative. Nonetheless, the webcam image’s random availability makes available inferred narratives of sexual promiscuity–sexual freshness–as well as questions of its cleanliness. One critical incident in the JenniCam history reverberates with the ambiguous charge of promiscuity. In July 2000, the webcam both lost and gained viewers when Ringley’s sexual propriety was called into question. She was accused, according to one report, of “stealing her best friend’s boyfriend in full view of thousands of outraged fans” (Lipowicz). Some boycotted the site, while others–40 percent more viewers than usual–logged on in anticipation of increased sexual activity, the report implies, allowing the further inference that Ringley would knowingly trade on this express traffic to garner relief from financial debt. One of Ringley’s online journal entries at the time playfully masked her knowingness with a barely euphemistic image of performative fluidity: “JenniCam, instead of being a window into my regular boring life, will be a window into love. I’m convinced it will utterly ooze through the Internet” (cited in Lipowicz). Where the electronic display of an image of identity via promiscuous contact is figured as transmission or communication, the narrative of sexualization accrues intensity by the associative anxieties of contagion. The exponential and apparently unintentional growth in the number of visits to JenniCam–its “catching on”–is a cellular instance of what is figured as the Internet’s promiscuous transmissibility.

     

    Several scholars have noted the common application of discourses of contagion to the transmission of computer viruses. In particular, the success of this metaphor draws on the shared unknowing of epidemic danger that exacerbated public misperceptions of AIDS at its most prolific and the contemporaneous phenomenon of computer hacking (Lupton; Kember). I began this essay with a reading of two pieces of U.S. legislation born from this exact fear: the harmful performativity of viral attacks on those points of the body (the human, social, and political body) deemed most vulnerable. Like the uncontainable damage caused by the electronic letter bomb, benevolently disguised and voluntarily received, exploding on arrival in the host’s email inbox, the Child Pornography Prevention Act imagined the desensitized catching on to dangerous behaviors by mere transmissible contact with unrecognizable agents of harm. The Communications Decency Act rendered the metaphor more explicit still, hoping to outlaw similar “transmission” and “communication” specifically centering on the body’s sexual and excretory orifices. As enactments of the state’s legal and political subjection of its citizens, the penetrating gaze of these bills aims to bring into visibility certain deviant behaviors, and to demarcate a sterilized zone from which contagion may be expelled. The surveillance of the U.S. military by the military, a surveillance that, as Butler discusses in Excitable Speech, aims at abjecting by “discharge” the “dangerous fluid” of homosexual communication, marks an analogous production of a purified body (110).

     

    In his condemnatory discussion of the Supreme Court’s striking down of the CPPA (in another of its “extraordinarily permissive rulings”), Robert H. Bork writes that “it would seem merely common sense to think that graphic depictions of children in sexual acts would likely result in some action by pedophiles,” but he stops short of considering the “likely result” of virtual or less obviously fictitious depictions.4 Bork’s position itself lacks mere “common sense” in its failure to specify beyond the likelihood of “some action” by presumably all “pedophiles.” Indeed, for Bork, child pornography–virtual or otherwise–exists in the same reprehensible category as all pornography, along with “nude dancing” and “raw profanity,” around which there has been “no good reason to throw free speech protections” as guaranteed by the First Amendment of the U.S. Constitution. Pornography of any kind should not be available even to adults, he opines, and therefore the question of virtuality–of whether actual children are involved in any way–is irrelevant to his argument. Nonetheless, Bork subscribes to Congress’s series of easy elisions–of sexual imagery with sexual conduct, of pornographer with pedophile, and of pornography viewer with pedophile–arguing for a clear, performative link between virtual representation and imagined actions upon unrelated children.

     

    In an effort to analogize this causality, Bork draws on another, more literal form of speech “exempt from regulation”: the broadcasting of “the rawest forms of profanity” on television.

     

    Cable television is saturated with words never before used in public, and the broadcast networks are racing to catch up. [...] The industry response to criticism on this score is that such words give the programs authenticity because this is the way people talk. In reality, however, the arrow probably points in the other direction. People increasingly talk this way because they hear the words on television, and they hear the words on television because the Supreme Court's rulings have deprived the government of any effective sanctions for profanity.

     

    Aside from the contention that both have been overlooked by the Supreme Court, Bork chooses not to trace the steps taken in his equation of profanity with child pornography. He also chooses not to entertain the question of how “sanctions for profanity” might be policed, let alone how they might actually function. His interpellation of a helplessly impressionable viewer, however, is clear and stands in accord with Congress’s equally monologic version of image reception. Like members of Congress, Bork fails to elaborate on his own apparent immunity to television’s believed contagious performativity, even as he concludes by acknowledging that “destroying limits to speech […] progressively liberates the worst in our natures.” Profanity, though, is apparently not in “our” nature: “never before used in public” and simply contracted from television. Having bundled profanity and pornography into the same basket of evil, Bork then applies different standards to each. His refusal to accept that representations of profanity can be authentic contradicts his understanding of pornography and its supposed performative function: that representations of child sex, even of the least “actual” authenticity, are “likely” to offer a template of behavior for real abuse.

     

    Where Bork’s article is particularly useful is in its propulsion of a familiar anxiety around the uncontrollability of representation and the channels of its circulation. His expedient conflation of photographic, televisual, video, and digital technologies disallows any discernment of epistemological nuance among these media. This slippage operates in service of a simplistic, oppositional image/reality binarism, and is fuelled by an inflated apprehension of immorality and harm. Paranoid voices like Bork’s and those of congressional legislators manifest a moral panic that the means of representation–the mass media generally–are disseminating contagious, dangerous matter. Just as Bork sees profanity spreading without regulation across the airwaves and into the public lexicon, images that merely “convey the impression” of involving children in sexual conduct are deemed capable of transmitting an infectious agency among susceptible individuals, and possibly further. Congress identified, for instance, the affective contagion that it imagined would endear children to images of other children “having fun” in even completely contrived “depictions” of sexual activity: a contagion of victimhood. And yet at the same time, a contagious perpetration was imagined by the congressional findings, where a desensitized predilection for the offending material might “catch on” among, we presume, not-yet-pedophiles in the same manner as it infects existing pedophiles with appetite-whetting stimulus. The projected sweep of the contagion is as oddly broad and indiscriminate as it initially seemed specific. The language of the CPPA bill–intended to serve a specific legislative function by closing what it perceived to be a representational loophole in opportunities for exploiting children–enacts a similar performativity to the contagiously regarded criminality of its content. This is not to say that its wording performs the abuse it names, but rather that its attempts to delineate with more qualitative focus its legislative domain (even if that domain was to be quantitatively expanded) resulted in a slippery imprecision and indiscrimination, ruled by the Supreme Court to be “overbroad.”5

     

    Despite the presumptuous evocation of community that subtends Bork’s calls for legislative stricture, his phrasing points more to contempt of an inadequately regulated public, to whose putative “common sense” he nonetheless defers. Further presuming moral commonality, his argument against profanity and the appearance of pornography alike yearns to reinstall a less “permissive” Supreme Court. Bork’s retrospective imaginary may find solace in that court’s landmark Bowers v. Hardwick ruling, the “inflammatory force” of which illustrates Eve Kosofsky Sedgwick’s broader elaboration of ignorance and its ambidextrous availability to the regulation of public and private spaces. Harnessing “an insolent display of legal illogic,” the Hardwick decision, Sedgwick writes, made “obtuse” and “contemptuous demonstration” of the court’s power to ratify homophobic discourse (6-7). Specifically, Justice White’s opinion found particular legal claims to a right to engage in sodomy–in one’s own bedroom–to be “at best, facetious” (qtd. in Sedgwick 6).6 Bork’s opinion, that for virtual child pornography to “likely result” in pedophilic activity is “merely common sense,” establishes by inversion a self-evidence of equal “mock-ignorant mock-jocose threat,” as Sedgwick describes White’s facetious “at best” (7; emphasis added). However, Bork’s prima facie condemnation of virtual material ignores the facetiousness of its avoidance of the categorical signifiers of actual pornography: that at best, virtual facetiae are merely euphemistically pornographic.

     

    Likewise, the virtual body of the webcam operator exists only on the screen that makes it visible, and from which it is indistinguishable. The screen represents a sustaining membrane without which that body would cease to exist. To puncture the screen, for that body to become merely flesh, would destroy the transparent seal of surveyed sterility that the webcam simulates as a means to making the body visible and, in viewer imaginations, variously sexual. The webcam enacts, then, what Bogard calls “the elaborate artifice of penetration” (38). This artifice manifests in the complex of interface features that encourage webcam viewers to believe they can telepresently “get hold of [the] object,” in whatever means they desire (Benjamin 217). In its automaticity, the webcam’s seductive main feature of image refreshment marks a constant reiteration of the screen as a seal of freshness: a continuous promise of the image’s availability, but of the body’s uncompromised prophylaxis.

     

    Notes

     

    1. “Telerobotics” is the technological capacity to control a robot or other machine from a distance. One famous example is Ken Goldberg’s Telegarden, an art installation allowing remote Internet users to tend an actual garden, first located in the Ars Electronica Center, Austria. <http://www.usc.edu/dept/garden/> See Goldberg.

     

    2. In late December 2003, without public explanation, Ringley ceased operation of the JenniCam website. Internet news reports suggest the decision may have come in response to online payment company PayPal’s cancellation of Ringley’s account because of the site’s supposed violation of PayPal’s non-nudity policy.

     

    3. This ease was demonstrated by Save Karyn <http://www.savekaryn.com>, a website audaciously (and successfully) dedicated to erasing Karyn’s $20,000 credit card debt. The site’s operator transparently acknowledged that she offered nothing in return for donations, which included money as well as all manner of other goods.

     

    4. A former judge and acting Attorney General under President Nixon at the height of the Watergate scandal, Bork’s own nomination to the Supreme Court by President Reagan in 1987 was lobbied against strongly by the American Civil Liberties Union and rejected by the Senate.

     

    5. “Overbreadth” is ascribed to legislation whose proscriptive sweep effectively covers that which is protected by the U.S. Constitution, namely freedom of speech, press, and assembly.

     

    6. Respondent Michael Hardwick had been arrested in his bedroom, where police found him engaging in the criminal act of sodomy with another adult male. He sued the state of Georgia for infringement of his fundamental rights, initially losing and later winning on appeal. The Supreme Court, in Bowers v. Hardwick (1986), ultimately upheld the constitutionality of the Georgia statute criminalizing sodomy.

     

    Works Cited

     

    • Ashcroft v. Free Speech Coalition. No. 00-795. 535 US 234. U.S. Supreme Court 2002.
    • Baudrillard, Jean. The Ecstasy of Communication. Trans. Bernard and Caroline Schutze. New York: Semiotext(e), 1988.
    • Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Trans. Harry Zohn. London: Fontana, 1992. 211-44.
    • Bogard, William. The Simulation of Surveillance: Hypercontrol in Telematic Societies. Cambridge: Cambridge UP, 1996.
    • Bork, Robert H. “The Sanctity of Smut.” Wall Street Journal 27 Apr. 2002. 22 Aug. 2002 <http://www.opinionjournal.com/extra/?id=105001991>.
    • Butler, Judith. Excitable Speech: A Politics of the Performative. New York: Routledge, 1997.
    • —. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
    • Child Pornography Prevention Act of 1996. Pub. L. 104-208 30 Sep. 1996. 110 Stat. 3009.
    • Cohen, Stanley. Folk Devils and Moral Panics: The Creation of the Mods and Rockers. London: MacGibbon and Kee, 1972.
    • Communications Decency Act of 1996. Pub L. 104-104. 1 Feb. 1996. Title V.
    • Dovey, Jon. Freakshow: First Person Media and Factual Television. London: Pluto, 2000.
    • Feuer, Jane. “The Concept of Live Television: Ontology as Ideology.” Regarding Television: Critical Approaches–an Anthology. Ed. E. Ann Kaplan. Frederick, MD: University Publications of America, 1983. 12-22.
    • Goldberg, Ken. “Introduction: The Unique Phenomenon of a Distance.” Goldberg 2-20.
    • Goldberg, Ken, ed. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge, Mass.: MIT P, 2000.
    • Grzinic, Marina. “Exposure Time, the Aura, and Telerobotics.” Goldberg 214-24.
    • Hopkins, Susan. “Camgirls: Live on the Net.” Sydney Morning Herald 10 Aug. 2002. 21 Aug. 2002 < http://www.smh.com.au/text/articles/2002/08/09/1028158010523.htm>.
    • Kember, Sarah. Virtual Anxiety: Photography, New Technologies, and Subjectivity. Manchester: Manchester UP, 1998.
    • Lipowicz, Alice. “Jenni’s in Love.” Salon 4 Aug. 2000. 21 Aug. 2002 <http://dir.salon.com/tech/log/2000/08/04/jennicam/index.html?sid=937137>.
    • Lupton, Deborah. “Panic Computing: The Viral Metaphor and Computer Technology.” Cultural Studies 8.3 (1994): 556-68.
    • Mieszkowski, Katharine. “Candy from Strangers.” Salon 13 Aug. 2001. 21 Aug. 2002 <http://archive.Salon.com/tech/feature/2001/08/13/cam_girls/index.html>.
    • Morse, Margaret. Virtualities: Television, Media Art, and Cyberculture. Bloomington: Indiana UP, 1998.
    • Reno v. American Civil Liberties Union. No. 96-511. 521 US 844. U.S. Supreme Court 1997.
    • Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley: U of California P, 1990.
    • Sontag, Susan. AIDS and Its Metaphors. Harmondsworth: Penguin, 1989.
    • Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995.
    • Watney, Simon. Policing Desire: Pornography, AIDS and the Media. London: Methuen, 1987.
    • Williams, Linda. Hard Core: Power, Pleasure, and the “Frenzy of the Visible.” Berkeley: U of California P, 1989.

     

  • “Myriad Little Connections”: Minoritarian Movements in the Postmodernism Debate

     

    Pelagia Goulimari

    Angelaki: Journal of the Theoretical Humanities
    goulimari@angelaki1.demon.co.uk

     

    The vast postmodernism debate, whose expansive and canonical phase spanned from the early 1980s to the mid-1990s but which has yet to reach a point of settlement or closure, engages with a multiplicity of questions, among which “what is postmodernism?” is not necessarily the most important. A more urgent question in the debate is that of minoritarian movements. In many of the most influential interrogations of postmodernism, one can discern the promise of unprecedented participation for everyone on a global terrain without frontiers. It is a promise, however, on which the canonical texts of the debate ultimately fail to deliver. An analysis of these texts shows them following a binary scheme of political analysis that is still with us today and which it is our challenge now to leave behind: fragmentation versus unification. Minoritarian movements are seen as non-communicating fragments in need of unification by an avant-garde hegemonic force. In our post-hegemonic world, this model locks minoritarian movements into a false dilemma and fails to acknowledge their fertile interaction. In search of a “new” model that acknowledges both the distinctness and unceasing interaction of minoritarian movements, I propose a return to Deleuze and Guattari’s Anti-Oedipus.Here unfolds a world of “myriad connections, disjunctions, and conjunctions” (315) across fields (such as Marxism, feminism, postcolonial theory, and queer theory): small collectivities, here, which neither have “anything in common, nor do they cease communicating.”

     

    Central to my account of the postmodernism debate will be Fredric Jameson’s canonical essay, “Postmodernism, or the Cultural Logic of Late Capitalism” (1984).1 In The Success and Failure of Fredric Jameson (2001), based on a series of articles published in this journal between 1995 and 2000, Steven Helmling describes “Postmodernism, or the Cultural Logic of Late Capitalism” as Jameson’s most accomplished attempt to date at success-as-failure: a dialectical model of writing full of contradictions, full of movement and agitation and vertiginous slippage of meaning (14-16, 110-11). Further, Helmling argues that between 1982 and 1984–between Jameson’s earliest piece on postmodernism, “Postmodernism and Consumer Society” and his definitive “Postmodernism, or the Cultural Logic of Late Capitalism”–Jameson “augment[s] polysemy” (16, 169-70).2 In fact, however, when one reads these successive writings in relation to the question of minoritarian movements, one finds a reverse movement toward monosemy, accompanied by an increasingly insistent rejection of minoritarian movements.3

     

    In the first part of this essay, and in order to show this double movement, I will briefly review Jameson’s work on postmodernism between 1982 and 1984. In particular, I want to show how this work slowly crystallized a truth-claim about postmodernism as part of a triangle. First, postmodernism = minoritarian movements = sheer heterogeneity, radical difference, dispersal of non-communicating fragments. Second, late capitalism is a spectre of dissolution in that it is a total or global system paradoxically generating sheer heterogeneity, that is, generating minoritarian movements that are nothing but non-communicating islands of late capitalism. Third, the Left will overcome this spectre of dissolution and bring about a total systemic transformation by hegemonizing and thus unifying minoritarian movements. This hegemony is necessary rather than a matter of contingent, political articulation. The main theoretical element here is Lacan’s structuralist reading of schizophrenia as a breakdown of the signifying chain. Its main political element is that minoritarian movements are those disconnected signifiers and that the Left is the Lacanian “despotic signifier” or hegemonic force that will reunite them.

     

    In the second part of this essay, I look at the effective adoption of the Jamesonian triangle of fragmentation, total system, unification as total systemic transformation–in its formal outline rather than its particular contents–in three major works on postmodernism: David Harvey’s The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change (1989), Steven Connor’s Postmodernist Culture: An Introduction to Theories of the Contemporary (1989), and Linda Hutcheon’s The Politics of Postmodernism (1989), the latter of which simultaneously adopts and rejects this triangle. I follow the mutations of the Jamesonian triangle in these works, in relation to minoritarian movements. I also look at the effective rejection of the Jamesonian triangle in Ernesto Laclau’s “Politics and the Limits of Modernity” (1987), again in relation to minoritarian movements.

     

    In the third and final part of the essay, I turn to Deleuze and Guattari’s Anti-Oedipus for an alternative conception of minoritarian movements and their interaction, in order to escape what I see as the double bind between fragmentation and unification. Deleuze and Guattari developed a distinction between two types of relation: that of schizophrenia or “deterritorialization” and that of paranoia or “territorialization.” I try to show that the Jamesonian triangle initiated a powerful and persistent “territorializing” tendency in the postmodernism debate. Finally, I argue that the Jamesonian triangle leads perhaps for the first time to the fragmentation it purports to overcome.

     

    “Postmodernism, or the Cultural Logic of Late Capitalism”

     

    In this section I will examine the movement from Jameson’s “Postmodernism and Consumer Society” (1982), “Cognitive Mapping” (1983), “Periodizing the 60s” (1984), and his Foreword to Jean-François Lyotard’s The Postmodern Condition (1984), to the definitive “Postmodernism, or the Cultural Logic of Late Capitalism” (1984). The section is divided into three parts named for the Jamesonian triangle of late capitalism, the Left, and minoritarian movements.

     

    Late Capitalism

     

    In the first paragraph of his Foreword to The Postmodern Condition, Jameson introduces his main thesis on postmodernism: postmodernism “involves […] a new social and economic moment” (vii).

     

    “Postmodernism and Consumer Society” already has recourse to a “new moment of late, consumer or multinational capitalism” but understands its link to postmodernism as only partially determining (125). Yes, postmodernism is “closely related” to consumer capitalism, and its “formal features in many ways [not in every way] express the deeper logic” of consumer capitalism; yet it remains distinct from consumer capitalism, so that Jameson can conclude: “there is a way in which postmodernism replicates […] the logic of consumer capitalism; the more significant question is whether there is also a way in which it resists that logic” (125, emphasis added). In “Postmodernism, or the Cultural Logic of Late Capitalism,” with expressions such as “postmodern period” (62, emphasis added), no distance remains between postmodernism and the new economic moment; Jameson assimilates postmodernism to its logic.

     

    But what is this new “social and economic moment”? In “Postmodernism and Consumer Society” Jameson looks at two features of postmodernism–pastiche and schizophrenia–in order to deduce the nature of consumer capitalism. Through both pastiche and schizophrenia, as I will now explain, he detects social fragmentation. (Jameson seems to assume that social fragmentation expresses rather than resists consumer capitalism.)

     

    In “Postmodernism and Consumer Society,” postmodernism is still a phenomenon in the arts–later, poststructuralist theory will be included. Jameson briefly relates pastiche to “each group coming to speak a curious private language of its own,” at the expense and to the detriment of “normal language […] of the linguistic norm,” as well as at the expense of “a unique personality and individuality, which can be expected [unlike groups] to generate its own unique vision of the world” (114). This is the first instance–a mere suggestion–of a link between the proliferation of new micropolitical groups and consumer capitalism. Jameson’s discussion of schizophrenic art continues the problematic of, and the lack of enthusiasm for, new micropolitical groups–initiated in the last quotation–in that schizophrenic art involves “isolated, disconnected, discontinuous material signifiers which fail to link up into a coherent whole” (119).

     

    A quick comparison with Baudrillard’s La société de consommation (1970), to which Jameson’s “consumer society” refers, will show Jameson’s originality. Baudrillard’s “consumer society” has no dispersive or fragmentary effects. On the contrary, it is an expanded system of social reproduction, regulation, and control: “consumption is a system which assures the regulation of signs and the integration of the group […] a system of meaning” (“Consumer” 46). Further, consumer society is but a reaction to “the rise of new productive forces” (49). Baudrillard’s example of new productive forces, that of Puerto Rican workers in the U.S., might be seen to refer to all minoritarian groups. “Postmodernism and Consumer Society” seems to reverse this order, so that the proliferation of such new productive forces expresses consumer society.

     

    After “Postmodernism and Consumer Society,” the term “late capitalism” quickly becomes dominant. This is part of a broader shift. Here poststructuralism is still considered both to be “radical” (“Postmodernism and Consumer Society” 115) and to have cognitive value comparable to that of Mandel’s Late Capitalism (1975). By the time of “Postmodernism, or the Cultural Logic of Late Capitalism,” Jameson has placed them on opposite sides of a distinction between the symptomatic and the cognitive. Poststructuralism is relegated to the symptomatic, while Mandel’s “late capitalism” represents the cognitive. “Postmodernism, or the Cultural Logic of Late Capitalism” quickly slips from the initial statement that postructuralism is “a very significant symptom of […] postmodernist culture” to the equation, “poststructural or postmodern period” (61, 62); on the other hand “Marxian ‘science’ provides […] a way of knowing and conceptualizing the world abstractly, in the sense in which, e.g., Mandel’s great book offers a rich and elaborated knowledge of that global world system” (91).

     

    Jameson first develops his use of Mandel’s “late capitalism” in “Periodizing the 60s.” He adopts two main ideas. The first is that late capitalism is the purest and most extended form of capitalism so far. As Baudrillard and others wouldn’t disagree with this (see “Consumer Society” 50), the second idea is the crucial one: late capitalism is a spent force after the worldwide economic crisis of 1973-74.4 “Periodizing the 60s” quickly turns this “hypothesis” into a quasi-scientific prediction of the political fate of minoritarian movements (206): they were “produced” by late capitalism’s energy–now that this energy is exhausted, so are they (208). “Periodizing the 60s” continues to diagnose contemporary reality as fragmented–as “a now absolutely fragmented and anarchic social reality” (201)–but this reality is the work of a new subject of history, late capitalism.

     

    “Periodizing the 60s” opens with the proposition that “history is necessity” (178). It concludes accordingly: now that late capitalism has lost its dynamism, the “prodigious release of untheorized new forces” is over and is “(from the hindsight of the 80s) a historical illusion,” “inflationary,” a matter of “devalued signifiers” caused by an unwise “universal abandonment of the referential gold standard” (208). (The U.S. and then the IMF abandoned the actual gold standard in 1970s. Jameson’s argument seems to be that micropolitics abandoned “the referential gold standard” of the category of class.) Jameson predicts:

     

    the 80s will be characterized by an effort, on a world scale, to proletarianize all those unbound social forces[;] [...] by an extension of class struggle, in other words, into the farthest reaches of the globe [...] The unifying force here is the new vocation of a henceforth global capitalism, which may also be expected to unify the unequal, fragmented, or local resistances [...]. (208-09)

     

    This is how Marxism “must necessarily become true again” (209). “And this is finally also the solution to the so-called ‘crisis’ of Marxism” (209). It seems to me that capitalism plays the role of a deus ex machina here.

     

    What makes “Periodizing the 60s” fascinating is the fleeting presence, in this piece alone, of a second theoretical position–history as contingency–and a second affective position–an openness to minoritarian movements. The result is pure, unresolved contradiction. For example, Jameson’s genealogy of the 1960s incorporates political events: “a fundamental ‘condition of possibility’” for the unleashing of the new forces was McCarthyism and the merger of the AFL and the CIO in 1955, in that it led to “the expulsion of the Communists from the American labor movement” (181); or Jameson considers that “such newly released forces do not only not seem to compute in the dichotomous class model of traditional Marxism; they also seem to offer a realm of freedom and voluntarist possibility beyond the classical constraints of the economic infrastructure” (208).

     

    Similarly, as examples of a different affective tone toward minoritarian movements, Jameson speaks of feminism as “stunning and unforeseeable […] a Yenan of a new and unpredictable kind which is still impregnable” (189), and he salutes “the challenge of the women’s movement whose unique new strategies and concerns cut across (or in some cases undermine and discredit altogether) many classical inherited forms of […] political action” (192).5

     

    “Postmodernism, or the Cultural Logic of Late Capitalism” leaves contingency and openness behind: minoritarian movements are but “symptoms” of late capitalism. Michael Hardt and Antonio Negri make the reverse and, in my view, more convincing argument in Empire: capital is parasitic and reactive and simply borrows the inventions of the struggles of the proletariat to survive. They reject all “objective” theories of the dynamics of capital and all theories of cycles, in that such theories devalue the proletariat. The crux of their analysis lies in identifying the 1960s movements–in their indexes of “mobility, flexibility, knowledge, communication, cooperation, the affective”–as the new figure of the proletariat or the “multitude” (275).6

     

    While “Postmodernism, or the Cultural Logic of Late Capitalism” is central to the postmodernism debate, while we still return to it, Jameson himself has moved on and has since said: “I have mainly singled out intellectual and social phenomena like ‘poststructuralism’ and the ‘new social movements,’ thus giving the impression, against my own deepest political convictions, that all the ‘enemies’ were on the left” (“Conclusion” 408).

     

    The New New Left

     

    “Postmodernism, or the Cultural Logic of Late Capitalism” upholds a modern model of genuine political expression, of a “great collective project,” comprising three interrelated elements: the individual, the norm and, crucially, the avant-garde (always in the singular) (65).7 Here Jameson postulates, first, that the “collective ideals of […] political […] avant-garde […] stand or fall along with […] the so-called centred subject” or that political “expression requires the category of the individual monad” (63); second, that the “fragmentation of social life […] to the point where the norm itself is eclipsed” goes hand in hand with “the absence of any great collective project” (65); third, that minoritarian movements are part of this new fragmentation brought about by late capitalism.8 Minoritarian movements are, therefore, an impediment to collective projects, rather than their embodiment. Now that capitalism works by “heterogeneity without a norm,” minoritarian movements play into the hands of “faceless masters [who] continue to inflect the economic strategies which constrain our existence”–minoritarian movements are, in effect, the enemy (65). What is implicitly at work here is a distinction within collective projects, parallel to the distinction between cognitive and symptomatic theory discussed above. This is a distinction between authentic and inauthentic collective projects on grounds that are purely formal and a priori: an authentic collective project is necessarily “avant-garde,” in the sense of confronting a total system or norm. In other words, an authentic collective project aims at the total transformation of a total system.

     

    What is at stake here is much more than the validity of a modern triangle (the individual, the norm, the avant-garde). The important point, as I will now try to show, is that Jameson renews this triangle as part of the attempt to draw a clear line between minoritarian movements and what can be called the new New Left. This project is initiated in “Cognitive Mapping” and reaches its definitive formulation in the final pages of “Postmodernism, or the Cultural Logic of Late Capitalism.”

     

    In “Cognitive Mapping,” Jameson defines cognitive mapping as that which “span[s] or coordinate[s] […] a gap between phenomenological perception and a reality that transcends all individual thinking or experience” (353, emphasis added). Here we have Jameson’s first attempt to revamp this modern triangle: cognitive mapping is defined in relation to the individual, on the one hand, and a global reality, a new norm, on the other, so that it occupies the position of the avant-garde. This new norm, to which the new avant-garde will respond, is minoritarian movements as fragmentation and as the new face of a now-global capitalism; this new norm is “a multidimensional set of discontinuous realities,” the “post-Marxian Nietzschean world of micropolitics,” “the random and undecidable world of microgroups” (351, 355, 356). Where there is global fragmentation and dissolution, cognitive mapping aspires to bring its opposite. As Jameson specifies, cognitive mapping attempts to map “the totality of class relations on a global […] scale” and is “an integral part of any socialist political project,” because “without a conception of the social totality (and the possibility of transforming a whole social system), no properly socialist politics is possible” (353, 355).

     

    In a moment augmenting polysemy, Jameson comments that cognitive mapping is “a kind of blind”–“little more than a pretext” for debating the issue of the relation of the American Left to minoritarian movements (347). “Our essential function for the moment […] involves the conquest of legitimacy in this country for socialist discourse” (358). This “conquest of legitimacy” seems to require for the Left to reap the surplus value of the cultural, artistic, and political output of minoritarian movements: “the question is how to think those local struggles, involving specific and often quite different groups, within some common project that is called, for want of a better word, socialism” (360). The task is international rather than national: the new New Left is to articulate local struggles everywhere, thereby transforming them from an epiphenomena of global capitalism to elements in the reconstructed chain, in the avant-garde project, of international socialism.

     

    Here, a couple of loose ends remain, which Jameson will attempt to tie up in “Postmodernism, or the Cultural Logic of Late Capitalism.” First, if, as Jameson writes in “Cognitive Mapping,” socialism stands for “transforming a whole social system,” what about the claims of those minoritarian movements which also have recourse to a whole social system and its transformation (certain strains of “difference” feminism, for example, with their radical address to patriarchy and its transformation) (347)?9 In a passage already quoted above, “Postmodernism, or The Cultural Logic of Late Capitalism” strengthens the link between Marxism and the cognitive: Mandel’s “hypothesis” (in “Periodizing the 60s”) now becomes “a rich and elaborated knowledge of that global world system” (91).

     

    Second, if the individual stood for the centered subject in the modern triangle, what exactly does it stand for here–what are we to understand by “phenomenological perception” and “individual thinking or experience” (above)? In the final pages of “Postmodernism, or the Cultural Logic of Late Capitalism,” Jameson revises his account of cognitive mapping and now speaks of “individual and collective subjects” unable to grasp the totality and in need of cognitive mapping (92, emphasis added). It seems then that the individual is now another name for what Jameson sees as the isolated and fragmented perspective of minoritarian movements. So the three elements of Jameson’s new triangle are first, in the position of the individual, any minoritarian movement, understood as an isolated, spatialized, inert element; second, in the position of the norm, late capitalism as a field of minoritarian movements as isolated islands; and third, in the position of the avant-garde, international socialism as unification of minoritarian movements by the new New Left.

     

    A brief contrast with Raymond Williams’s The Country and the City (1973) would be instructive. In speaking of (and for) the rural laborer, Williams bumps against the fixation of the Left on the male metropolitan proletarian, at the expense of other kinds of work and exploitation, which become invisible. Williams links the Left’s fixation on this figure with three additional tendencies–tendencies which, I believe, may be discerned in “Postmodernism, or The Cultural Logic of Late Capitalism.” These tendencies are the famous “simultaneous damnation and idealisation of capitalism”; the Left’s identification with “mastery–power”; and, finally, a specific dream of socialism as the first-born son of capitalism that will inherit all upon its demise:

     

    What they say is damn this, praise this; and the intellectual formula for this emotional confusion is, hopefully, the dialectic. All that needs to be added, as the climax to the muddle, is [...] the saving qualification, that at a certain stage [...] capitalism begins to lose this progressive character and [...] must be replaced, superseded, by socialism. (Williams 37)

     

    Throughout The Country and the City, Williams opens up, to the point of reversal, the distinction between the rural and the metropolitan. On the side of the rural he includes vagrant laborers (83-86), families without fathers–since even “in the villages what was most wanted was the abstract producer, the single able-bodied man” (85)–and Third-World laborers (279-88). On the side of the metropolitan he includes land enclosures, the laws restricting mobility, and, as we have seen, even a certain version of socialism.

     

    In an analysis resonant with that of Deleuze and Guattari’s in Anti-Oedipus, Williams discusses the sedentary ethic inextricably linked with the rise of capitalism, whose target and enemy is migrant and “unproductive” labor: poor labor. As a result, he recasts and expands the definition of labor–we can say that he recognizes the labor of many others besides that of the male metropolitan proletariat. We have seen Jameson, on the other hand, putting his faith in capitalism to “proletarianize” those others. We will now see him “dissolving […] the lives and work of others into an image” (Williams 77).

     

    Minoritarian Movements

     

    A good metaphor for Jameson’s perspective on minoritarian movements in “Postmodernism, or the Cultural Logic of Late Capitalism” is that they are “scattered television screens positioned at intervals” (like the exemplary artwork by Nam June Paik he describes here); they force us to choose between two distinct ways of viewing them: either we “decide to concentrate on a single screen”–as for him, presumably, minorities do–or we attempt “to see all the screens at once, in their radical and random difference” (76). Needless to say, it is only the second, panoptic position that will “hold to the truth of postmodernism” and “do it justice” (92). Clearly, given Jameson’s choice of metaphor, the panoptic spectator he invokes is faced with a formidable challenge; indeed, that figure is “called upon to do the impossible” (76). But we are still a little taken aback when Jameson announces that our success in this undertaking involves “an imperative to grow new organs, to expand our sensorium and our body to some new, as yet unimaginable, perhaps ultimately impossible, dimensions” (80). Expanding our bodies to impossible dimensions? Is this a radical political enterprise, a cognitive enterprise, or some kind of a monstrous assimilation? How are we even to begin such a project of bodily transformation?

     

    As we have seen, from his earliest work on postmodernism, Jameson consistently understands minoritarian movements as isolated and non-communicating. At the same time, something like a common ground gradually emerges–the new economic system–to the point where, in “Postmodernism, or the Cultural Logic of Late Capitalism,” minoritarian movements are “symptoms” on the body of late capitalism. Like TV screens, symptoms manifest a latent reality that is outside and beyond them–treating minoritarian movements as symptoms derealizes them, transfers their reality, vitality, and life onto something else. And yet, it seems to me that when the new economic system is described–as a world of micropolitics, micromultiplicities, and discontinuous realities–it is itself a figure for a world where the cultural, artistic, and political initiative has passed to minoritarian movements. In this state of affairs, Deleuze and Guattari, among others, look at lateral connections between movements. Jameson, on the other hand, adopts a conceptual framework that denies a priori the ability of minoritarian movements to enter into lateral connections or to confront and change oppressive doxas directly and without intermediaries.

     

    Key to Jameson’s ghettoization of minorities is his particular scheme or mode of spatialization, and his understanding of space and historical time in the works examined. In “Postmodernism and Consumer Society,” Jameson argues that postmodernism is marked by a “historical amnesia” that expresses the new economic system (125). To demonstrate this, he briefly analyzes an extract from Marguerite Séchehaye’s Autobiography of a Schizophrenic Girl (120). The extract is a first-person narration of a past “schizophrenic” incident. It opens with the words “I remember very well” and closes with the “schizophrenic” girl going back “home to our garden and beg[inning] to play,” as a return to reality. What is the incident? A girl is walking in the countryside when, “suddenly,” as she is passing a school, she hears a German song sung by the schoolchildren and she stops to listen. A double transformation then occurs. The school and the children become barracks with prisoners compelled to sing, a vision imbued with a “sense of unreality.” At the same time and “bound up with” this disorienting double vision, a field of wheat becomes “dazzling” and seemingly infinite, with “limits I could not see,” and this further intensification of the hallucinatory moment brings with it a profound “anxiety” (120).

     

    My understanding of this incident, indebted to Walter Benjamin’s “Theses on the Philosophy of History,” is that, instead of being immersed in a pleasant walk in the countryside or enjoying nature as an idyllic spectacle as is customary, and instead of playing in the garden, this girl has a genuine historical experience. As Benjamin tells us, “to articulate the past historically does not mean to recognize it ‘the way it really was’ […]. The true picture of the past flits by […] flashes up at the instant when it can be recognized and is never seen again” (247). The girl’s stroll is “suddenly” interrupted by the unexpected sound of a German song sung by children inside the school–perhaps this is holiday time, hence the surprise. This slight event sends her back into a time of war and concentration camps, “barracks” and “prisoners” (Autobiography of a Schizophrenic Girl was originally published in French in 1950). As a result, the familiar and timeless scenery of country fields is transfigured; “bound up with” barracks and prisoners, it is traversed by an added dimension, that of history, and becomes unlimited and dazzling.

     

    The historical time recalled here is not that of public history. This, Benjamin tells us, is the form (continuous and present) of the history of the victors. The “tradition of the oppressed,” on the other hand, a genuine experience, comes to us from the corner of the eye, the ear, as involuntary and irrepressible as “a tiger’s leap” (248, 253). “Tiger’s leap” because for Benjamin, far from being passive or idle, the genuine historical experience–in this instance, the “schizophrenic” arrest that is pregnant with the girl’s own unknown predicament–is vitally connected to a revolutionary moment, a moment of praxis. If this is not the case here, this might be because the girl returned to reality too quickly; because the girl is not “schizophrenic” enough, so to speak. As I have already indicated, the narrative where the incident belongs is exemplary in the incident’s overcoming–the narrative itself is anything but “schizophrenic.” The incident is firmly lodged in a sequence initiated by “I remember very well” and completed by “I ran home to our garden and began to play ‘to make things seem as they usually were,’ that is to return to reality.”

     

    Jameson, in his own interpretation, omits–I feel tempted to say symptomatically–the song, the children/prisoners, the school/barracks, and has eyes only for the unlimited wheat field now unbound from its connections and standing in sublime isolation. He therefore sees the incident as demonstrating that “the schizophrenic is thus given over to an undifferentiated vision of the world in the present”; “an experience of isolated, disconnected, discontinuous material signifiers which fail to link up into a coherent sequence” (“Postmodernism and Consumer Society” 120, 119). If, for Jameson, this is the definition of historical amnesia, a radical historical project would, by contrast, involve the unification of the disconnected.

     

    This becomes clear in “Postmodernism, or the Cultural Logic of Late Capitalism.” Discussing E. L. Doctorow’s Ragtime (which Jameson argues is symptomatically ahistorical), Jameson claims that a radical historical project requires an intentional and active monadic subject grasping firmly the “historical referent” (71), that it requires a clear distinction between subject and object.10 He then argues that the postmodern version of this project would entail the active grasping of spatial fragments. He therefore repeats his analysis of the schizophrenic girl from “Postmodernism and Consumer Society” and adds the analysis of the exemplary TV screens discussed earlier and the two alternatives, contemporary and relevant, they offer. The first alternative, comparable to Jameson’s reading of the schizophrenic girl, is exemplary of minoritarian movements: impotent and symptomatic absorption in a TV screen. The second alternative, actively grasping all screens at once–that is, continuing the clear distinction between subject and object by new means–is exemplary of the Left as Jameson envisages it: it rises above ahistorical postmodernism toward a new historicity in the form of a “new mode of relationship” (75).

     

    Since the emergence of the New Left in the 1960s civil rights movement, the simultaneous explosion in the reinvention of group traditions, histories, and agendas for the future appears to Jameson as ahistorical.12 Linda Hutcheon, in The Politics of Postmodernism, contradicts Jameson directly on this point. Not only is postmodernism (understood as contemporary culture, including theory) historical, but it derives “its historical consciousness (and conscience) from the inscription into history of women and ethnic/racial minorities” during the 1960s (10). If postmodernism is “typically denounced as dehistoricized” by Marxist and right-wing critics alike, this is because “the problematized histories of postmodernism have little to do with the single totalizing History” in which both parties take refuge (57).13

     

    The Adoption of Jameson’s Triangle

     

    I have tried to show that Jameson’s “Postmodernism, or the Cultural Logic of Late Capitalism” crystallizes the following triangle: late capitalism as system generating fragmentation, minoritarian movements as fragments symptomatic of late capitalism, international socialism as unification promising total systemic transformation. In this section, I look at two of the first major adoptions of the Jamesonian triangle, David Harvey’s The Condition of Postmodernity and Steven Connor’s Postmodernist Culture: An Introduction to Theories of the Contemporary; Linda Hutcheon’s simultaneous rejection and adoption of the triangle in The Politics of Postmodernism; and Ernesto Laclau’s rejection of the triangle in “Politics and the Limits of Modernity.” My argument will be that Jameson’s triangle initiated–provided the toolkit for–a “territorializing” tendency in the postmodernism debate. Then, in a final section, I will elucidate the Deleuzo-Guattarian distinction between “territorialization” and “deterritorialization.”

     

    The Condition of Postmodernity

     

    David Harvey’s The Condition of Postmodernity is a post-Jamesonian work in many ways. What is tentative in Jameson is asserted in Harvey. For example, even in the hardest version of “Postmodernism, or the Cultural Logic of Late Capitalism,” Jameson is able to undermine the reality effect he is creating–of minoritarian movements as fragments symptomatic of late capitalism–when he says that we need to “project some conception of a new systemic cultural norm […] in order to reflect […] on the most effective forms of any radical cultural politics today” (57). For Harvey, on the other hand, the links between minoritarian movements, fragmentation, and late capitalism are self-evident. For example: “the reproduction of the social and symbolic order through the exploration of difference and ‘otherness’ is all too evident in the climate of postmodernism”; and “racial minorities, colonized peoples, women, etc. […] become a part of the very fragmentation which a mobile capitalism and flexible accumulation can feed upon” (345, 303).

     

    Most notably, The Condition of Postmodernity is a post-Jamesonian work in that “Postmodernism, or the Cultural Logic of Late Capitalism” is here codified into a set of terms of participation in the postmodernism debate:

     

    • One cannot participate except as a representative and on behalf of a particular territoriality with avant-garde pretensions and promising total systemic transformation (in Jameson’s case, international socialism; in Harvey’s case the Anglo-American New Left).

     

    • Participants should invoke a global spectre of dissolution that their territoriality will confront and overcome (in both Jameson’s and Harvey’s case, capitalism; in, for example, Hutcheon’s case, patriarchy).

     

    • Participants project this global spectre of dissolution onto those threatening their territoriality (in Jameson’s case, both minoritarian movements and those Marxists or post-Marxists who do not subscribe to his versions of proper Marxism and proper socialism; in Harvey’s case, both minoritarian movements and those Marxists or post-Marxists who do not subscribe to historical materialism). On their own those others are at one with the spectre of dissolution, once within the territoriality in question they contribute to the spectre’s defeat.

     

    Harvey participates in the postmodernism debate explicitly as a representative of the New Left, on behalf of the New Left. He argues that a return to historical materialism will reverse the centrifugal tendencies within the New Left, as well as helping the New Left to expand its territoriality by incorporating gender, race, and the like. In relation to his title, Harvey asserts that “postmodernism does not reflect any fundamental change of social condition,” and he outlines two interpretative options (111). Postmodernism can be understood either as “a departure […] in ways of thinking about what could or should be done,” or as “a shift in the way capitalism is working these days” (111, 112, emphasis added). Harvey opts for the latter.14 In relation to his subtitle (An Inquiry into the Origins of Cultural Change), Harvey first argues that while “embrac[ing] the new social movements,” the New Left “tended to abandon […] historical materialism as a mode of analysis” and was left bereft of its traditional claim to understand the “social processes of transformation that underlay” such epiphenomena. Secondly, Harvey argues that the New Left tended to treat the “new social movements” as “something that should be omni-present from the very beginning in any attempt to grasp the dialectics of social change” (emphasis added). As a result, the New Left reduced itself to “compet[ing] on the same terrain,” politically and theoretically unarmed, with the “new social movements” and the poststructuralists. Harvey proposes that this dip into the phenomenal world, this misadventure, be viewed as necessary, in the sense of mediating the New Left’s rise from the “shackles of old left politics” toward “recuperating such aspects of social organization as race, gender, religion, within the overall frame of historical materialist inquiry” (353-55).

     

    Postmodernist Culture

     

    With Postmodernist Culture, Steven Connor participates in the postmodernism debate on behalf of the Anglo-American theoretical humanities. He presents the Anglo-American humanities as “the most significant and central determinant” of contemporary global culture (201). Their world-historical political mission is to bring about “an important, indeed, probably epochal stage in the development of ethical awareness” (244). Their political task is the “creation of a common frame of assent which alone can guarantee the continuation of a global diversity of voices”; the creation of a “horizon of universal value” (244, 243).

     

    Together with postcolonial studies, Connor views feminism not as part of the Anglo-American humanities but as a threat to it. Feminism leads to a “disastrous decompression” and “dissipat[ion]” of politics (226). Having devoted one and a half pages to this, by now, vast and illustrious critical field, he reproaches feminism for its “stance” of marginality, for “this strange tendency of authoritative marginality to flip over into its own dark side” and for the “irrationalist embrace of the agonistics of opposition” (231, 243).

     

    While elevating Anglo-American criticism to a new avant-garde defined by the recognition of diversity, Connor withdraws any actual recognition from the forces of diversity themselves.The world seems to be diverse for the sole purpose of giving the ethical consciousness occasion to show itself by recognizing diversity. Otherwise, for Connor the world in itself, diversity in itself, is unethical–as, for Jameson, the world of micromultiplicities is a fallen world redeemed only when it comes under the wing of international socialism.

     

    The Politics of Postmodernism

     

    Whereas Connor participates in the postmodernism debate on behalf of Anglo-American criticism, Hutcheon, in The Politics of Postmodernism, participates on behalf of feminism.15 We have already seen her arguing against Jameson’s monolithic view of history and in favor of a pluralized view of history: “we now get the histories (in the plural) of the losers as well as the winners, of the regional (and colonial) as well as the centrist, of the unsung many as well as of the sung few, and I might add, of women as well as men” (66). A pluralized view of history–a view that, instead of separating time and space, posits the existence of a multiplicity of time-spaces–enables the positive appraisal of minoritarian movements, and allows Hutcheon to undermine Jameson’s (and Harvey’s) calls for a new alliance under the wing of the Left.

     

    However, Hutcheon wants to go further: she wants to assign feminism an avant-garde role in the new postmodern world and, within feminism, she wants to assign an avant-garde role to “difference” feminism. Her argument is as follows: postmodernism and feminism share a common “problematizing of the body and its sexuality” (142). If “feminism is a politics […] [while] postmodernism is not,” if postmodernism is “complicit[ous] with power and domination” while feminism is “the single most powerful force in changing the direction in which (male) postmodernism was heading,” this is because feminism “radicalized the postmodern sense of difference” (4, 142). Feminism “made postmodernism think, not just about the body, but about the female body; not just about the female body, but about its desires” (143). So Hutcheon argues that there is a global status quo, patriarchy, which can be radically transformed only by “sexual difference” feminism; only within the context of “sexual difference” feminism can other minoritarian movements and other feminisms hope to end their complicity with a global system of oppression and work to overcome it.16 Hutcheon now finds herself using a conceptual schema formally indistinguishable from that of Jameson. The result is a pure contradiction at the heart of The Politics of Postmodernism. On the one hand, she rejects Jameson’s Big History and embraces “the lessons taught […] of the importance of context, of discursive situation”; at the same time she advocates a return to Big History, to a single global context and its single global transformation (67).

     

    “Politics and the Limits of Modernity”

     

    The immediate context for Ernesto Laclau’s “Politics and the Limits of Modernity” was the hostile reception of his and Chantal Mouffe’s new theory of hegemony among some Anglo-American Marxists.17 In Hegemony and Socialist Strategy (1985), Laclau and Mouffe outline a theory of hegemony as the articulation of signifiers by means of a “hegemonic force” comparable to the Lacanian “despotic signifier.” The crucial and controversial aspect of their theory is that no element in a political alliance–no political group–can claim to be necessarily and a priori hegemonic. Alliances have to be articulated in practice, the identity of the hegemonic force in a particular articulation is purely contingent (and always transient) and cannot be determined a priori by recourse to a foundation (be it capitalism, patriarchy, etc.). This, on the one hand, requires a weakening of the aspirations of radical collective actors, but, on the other hand, enables a huge amplification of possibilities for their interaction.

     

    In “Politics and the Limits of Modernity,” Laclau draws from his theory of hegemony a new position for the Left–a position, in some respects, diametrically opposed to Jameson’s and Harvey’s. As we have seen, Harvey presents us with two pairs of interpretative options. First, postmodernism can be understood either as “a shift in the way capitalism is working these days” or as “a departure in ways of thinking about what could or should be done.” Second, the task of the New Left is either to “recuperat[e] […] race, gender,” etc. within a Marxist territoriality based on historical materialism and class politics or to assume that they “should be omnipresent from the very beginning in any attempt to grasp the dialectics of social change.” Harvey chose the first options, Laclau chooses the second.

     

    First, Laclau argues that “there has been a radical change in the thought and culture of the past few decades” (“Politics” 329). This radical change in emancipatory political thought is an ongoing reconstruction of the radical moments in the various traditions of modernity, conducted from within these traditions. In the case of the Marxist tradition, its genealogical reconstruction–“a living dialogue with that tradition, to endow it with a certain contemporaneity against the timelessness that its orthodox defenders attribute to it”–involves a recognition of its multiple fissures (from Lenin, to Luxemburg, to Sorel, to Gramsci), against “its myth of origins” and “the myth of its coherence and unity” (339).

     

    Second, the anti-foundationalist reconstruction of radical tradition requires the recognition not just of Marxism’s plurality, but of the plurality of the radical tradition itself.

     

    If we are to reconstruct radical tradition (because this is precisely what this is about), not as a necessary departure from a point of origin, but as a genealogy of the present, it is clear that Marxism cannot be its only point of reference. The plurality of current social struggles [...] entails the necessity of breaking with the provincial myth of the "universal class." If one can talk about universality, it is only in the sense of the relative centralities constructed hegemonically and pragmatically. The struggles of the working class, of women, gays, marginal populations, Third World masses, must result in the construction of their own reappropriations of tradition through their specific genealogical efforts. This means, of course, that there is no a priori centrality determined at the level of structure, simply because there is no rational foundation of History. The only "rationality" that History might possess is the relative rationality given to it by the struggles and the concrete pragmatic-hegemonic constructions. (340)

     

    In other words, as Laclau put it in “Building a New Left,” Marxism has to be reinscribed “as a historical, partial and limited moment within a wider historical line, that of the radical tradition of the West” (179). Laclau closes “Politics and the Limits of Modernity” with a proposition with far-reaching consequences: that the combination of anti-foundationalism and “metaphysical contingency,” contingency as a transcendental a priori, can in itself serve as the emancipatory metanarrative of our time (343).

     

    By contrast, Jameson’s “Postmodernism, or the Cultural Logic of Late Capitalism” provides the tools for what Laclau calls a “homeland” Marxism as well as for a “homeland” feminism, etc.18 It provides the tools, as I will now go on to argue, for the construction of “artificial territorialities” which in their mutually exclusive avant-garde aspirations now lead to the feared fragmentation and dissolution.

     

    Anti-Oedipus

     

    Schematizing and simplifying greatly, whereas Jameson and Laclau propose two different models of hegemony–with Jameson the identity of the hegemonic force can be determined a priori, with Laclau the identity of the hegemonic force is contingent–Deleuze and Guattari propose a posthegemonic world. Laclau shares Jameson’s distinction between unification and fragmentation or dispersion, as well as his rejection of dispersive politics. In Hegemony and Socialist Strategy, Laclau and Mouffe write that “the role of theory is not to elaborate intellectually the observable tendencies of fragmentation and dispersion, but to ensure that such tendencies have a transitory character” (14). On the other hand, in Anti-Oedipus Deleuze and Guattari propose “couplings and connections” and “transverse communications,” by virtue of dispersion (1, 319). They describe “schizorevolutionary” processes constituting collectivities as pure multiplicities, and distinguish them from “paranoiac fascisizing” processes constituting collectivities caught in a double bind between fragmentation and unification (277).

     

    A pure multiplicity is “irreducible to any sort of unity” (42).19 Deleuze and Guattari borrow Melanie Klein’s concept of “partial objects” to describe the elements of a pure multiplicity. Partial objects are not “parts of even a fragmented whole”; they “are recognized by their mutual independence” and are “different or really-distinct […] disparate” (323). This dispersion goes hand in hand with “myriad” connections:20 “partial objects […] all have their positive determinations, and enter into aberrant communication following a transversal”; “neither is there anything in common [between them], nor do they cease communicating” (69, 60). This connection of the disparate, where each partial object can be connected to a number of other partial objects, Deleuze and Guattari call the “first synthesis” or “connective synthesis” or “production of production” (38).

     

    Then, in a moment of stasis, partial objects and their myriad connections–partial object coupled to partial object–turn into “a third term […] an enormous undifferentiated object” (7). Deleuze and Guattari, borrowing from Antonin Artaud, call this new part the “body without organs”: “The body without organs is produced as a whole […] alongside the [other] parts that it neither unifies nor totalizes. And […] it brings about [new] transverse communications” between them (43). That is, instead of the parts (the partial objects) being parts of the whole, the whole (the body without organs) is itself one of the parts of a pure multiplicity.21 The body without organs is “antiproduction” in the midst of production, but only in order to multiply the connections: “the body without organs […] reinjects producing into the product, extends the connections”; it is “perpetually reinserted into production” (72, 8).22 How? The body without organs is followed by a “distribution in relation to” itself; the coupled partial objects now appear as separate, as “co-ordinates” or as “points of disjunction [on the body without organs,] between which an entire network of new syntheses is now woven” (12).

     

    The second synthesis or disjunctive synthesis or “production of recording” works through “inclusive disjunction”–“either […] or […] or […]”–on the immanent field of the body without organs. The “paranoiac fascisizing” use of the second synthesis has two aspects. Firstly, it turns this immanent, produced field into a transcendent, producing, common field that (like capital and workers in Marx) appropriates the work–the connections–of partial objects while appearing as their mysterious “quasi cause” (10-11, 72-74).23 Deleuze and Guattari call this pseudo-transcendent, pseudo-producing, pseudo-common field an “artificial territoriality.” Secondly, the “paranoiac fascisizing” use of the second synthesis introduces differentiation by means of binary opposition–what Deleuze and Guattari call “exclusive disjunction” and “either/or”–including the binary opposition between binary opposition and a fearful chaos of undifferentiation, where “disjunctions are subjected to the alternative of the undifferentiated or exclusion” (120). While inclusive disjunctions on an immanent field multiply connections, exclusive disjunctions on a transcendent field halt connections, disallowing them in advance: what possible connection can there be between the two sides of an exclusive disjunction? Similarly, whereas, as we have seen, partial objects are both distinct and connected, a chaos of undifferentiation is comprised of elements as indistinct as they are incapable of connection to each other–once again connection is disallowed.

     

    Corresponding to inclusive disjunctions are “intense feeling[s] of transition” (18), “experience[s] of death” that are also “passage[s] or becoming[s]” (330). The third synthesis or conjunctive synthesis or “production of consumption/consummation” passes through the becomings toward a kind of subject: not a transcending subject, nor an agent, but something that follows events within the immanent field of the body without organs. This is a “faceless and transpositional subject,” “an apparent residual and nomadic subject,” “a transpositional subject […] collecting everywhere the fraudulent premium of its avatars” (77, 330, 88). After the partial objects and the body without organs, this is the third and last part of the pure multiplicity that Deleuze and Guattari call the “desiring-machine”: the “adjacent part” (330, 338).24 Deleuze and Guattari call this connective, inclusively disjunctive, nomadic, polyvocal, transversal, nonhierarchical, mortal, collective subject in transition a “subject-group” and distinguish it from the “subjugated group”: “[Our] […] final thesis […] is therefore the distinction between […] the paranoiac, reactionary, and fascisizing pole, and the schizoid revolutionary pole […] the one is defined by subjugated groups, the other by subject-groups” (348-49, 366-67).

     

    Subjugated groups could very well have revolutionary aims. What distinguish them are not their aims but their processes of constitution. Emerging from exclusive disjunction in relation to a transcendent field, they have two aspects. First, they are segregated and segregative: incapable of connection, they are constituted as isolated islands of a superior people surrounded by inferior enemies (103, 269). Second, in the meeting of a segregative group and a transcendent field, the polyvocality of subject-groups gives way to what Deleuze and Guattari call “biunivocalization.” The subjugated group expresses a meaning residing in a transcendent field: biunivocalization is “the flattening of the polyvocal real in favor of a symbolic relationship between two articulations: so that is what this meant” (101).

     

    Subject-groups, on the other hand, are always “at grips with, and directly coupled to, the [other] elements of the political and historical situation” which “they express all the less” (97, 100). In spite of their names–Deleuze and Guattari also call them “active groups” (94)–they bypass distinctions between subject and object, active and passive; they neither express nor are expressed, they neither cause nor are causing.25 Subject-groups are not those groups striving for self-realization, but those capable of being affected by others, those capable of interaction, impurity, and inauthenticity. Instead of constituting itself as an island whose superior self-identity (a=a) is threatened by enemies, a subject group is constituted as a, b, c…

     

    To summarize so far, Deleuze and Guattari outline three syntheses–connection, disjunction, conjunction–and three parts–partial objects, the body without organs, and the adjacent part–of a pure multiplicity, the desiring machine. They distinguish between two uses of these syntheses and parts: a schizorevolutionary and a paranoiac use. The schizorevolutionary use, associated with subject groups, involves partial and non-specific connections: connections are partial in that they do not refer to a global entity, but by the same token they are each complete and lacking in nothing; there can be several connections between two partial objects. The schizorevolutionary use, as we have seen, also involves inclusive and non-restrictive disjunctions, as well as polyvocal and nomadic conjunctions. The paranoiac use, associated with subjugated groups, involves global and specific connections: partial objects are now seen as parts of a pre-existing global entity to which they refer, in relation to which they are lacking, and which alone completes them; connections are seen as taking place between these pre-existing parts, so that a connection is always secondary and incomplete. The paranoiac use, as we have seen, also involves exclusive and restrictive disjunctions, as well as biunivocal and segregative conjunctions.26 Why? Deleuze and Guattari’s distinction between the paranoiac and the schizorevolutionary is indissociable from their analysis of capitalism.

     

    In brief, Deleuze and Guattari distinguish between three societies–primitive territorial, despotic, and capitalist–in their “history of contingencies, and not the history of necessity” (140). Starting from the postulate that “society is not first of all a milieu for exchange […] but rather a socius of inscription”, they name the three socii as the body of the earth, the body of the despot, and the body of capital (142). Whereas the immanent body of the earth codes population and other flows (into, for example, tribes) and whereas the transcendent body of the despot recodes them (into, for example, castes), capital decodes: as Marx and Engels said, all that is solid melts into air. Whereas precapitalist socii code flows, capitalism is based on a conjunction of decoded flows–for example, conjunction of decoded flows of population and decoded flows of money–that Deleuze and Guattari call an “axiomatic” (139). In order to survive, capitalism needs to regulate the axiomatic with a resurrection of the transcendent despotic state “under other guises” and “in unexpected forms” (220, 223). These instances of fake transcendence immanent to capitalism are “artificial territorialities” and the processes of their constitution are “(artificial) reterritorializations.”27

     

    Capitalism oscillates between two poles–reterritorialization, which preserves it, and deterritorialization, an unfettered decoding threatening it with extinction.28 “Capitalism is inseparable from the movement of deterritorialization, but this movement is exorcised through factitious and artificial reterritorializations”; “capitalism is continually reterritorializing with one hand what it was deterritorializing with the other” (303, 259).29 What exactly do deterritorialization and artificial reterritorialization consist of and how exactly do they work? We have now gone full circle. Deterritorialization involves the schizorevolutionary connections, disjunctions, and conjunctions, while artificial reterritorialization involves paranoiac-fascisizing connections, disjunctions, and conjunctions, as outlined above. In some sense, the schizorevolutionary–desiring-machines and their desiring-production–“functions at the end,” “under the conditions determined by an apparently victorious capitalism” (130, 139). For Anti-Oedipus the fight against capitalism is defined as careful and patient invention of deterritorialization in relation to a singular situation opening onto an immanent cosmopolitan field (319-20, 380). (As we have seen, Anti-Oedipus bypasses the opposition of part versus whole with the alliance of singularity and multiplicity.)

     

    If we use this quick sketch of the conceptual apparatus of Anti-Oedipus to look back on Jameson’s diagnosis of late capitalism and his prescription of a way out through international socialism, what strikes us is this: our enslavement (fragmentation) and our liberation (unification) are indistinguishable, in that they are both reterritorializing. In spite of their apparent opposition, they stand together in their common exclusion of deterritorialization–of the schizorevolutionary processes outlined in Anti-Oedipus. As we have seen, Jameson diagnoses minoritarian movements in their enslaved (so to speak) state as disconnected and, in their disconnectedness, as symptoms of late capitalism, while he announces minoritarian movements in their liberated state to come as parts of international socialism. The former (fragmentation) and the latter (unification) are in a relation of exclusive disjunction. This analysis is reterritorializing in different respects. The exclusive disjunction between late capitalism (fragmentation) versus international socialism (unification) is itself reterritorializing. Also, in spite of their apparent opposition, both late capitalism and international socialism are transcendent fields: Jameson “biunivocalizes” minoritarian movements in that he sees them as expressing a transcendent field that is late capitalism; he sees international socialism not as a pure multiplicity but as a whole unifying the parts. From the point of view of Anti-Oedipus, all instances of transcendence are now fake, so that both late capitalism and international socialism extract a surplus value from minoritarian movements while keeping them unconnected to each other–in the latter case, minoritarian movements are unified by their common participation in international socialism but remain laterally unconnected. As between them late capitalism and international socialism appear to exhaust the realm of the possible, the lateral, unmediated connections between minoritarian movements become a constitutive impossibility.

     

    With Jameson’s international socialism, as with Harvey’s American New Left, as with Connor’s Anglo-American humanities, as with Hutcheon’s sexual difference feminism, one of the elements of an unimaginably multidimensional and interconnected political situation aspires to play an avant-garde role by lifting itself above the immanent field. But in doing so, it behaves as a segregative and segregated territoriality (we are a superior people surrounded by an inferior world), now creating the fragmentation it purports to overcome. (It seems that avant-gardism and segregative territorialities are not in exclusive disjunction, either.) As participants representing minoritarian movements imported Jameson’s triangle, and as they matched his avant-garde aspirations with their own, the postmodernism debate, promising unprecedented participation for everyone, risked generating unprecedented reterritorialization. Deterritorialization and schizorevolutionary processes, on the other hand, could bring to the postmodernism debate the other, double life of minoritarian movements: a vibrant life of partial, inclusive, polyvocal, and nomadic political encounters, an already emerging post-hegemonic world.

     

    Anti-Oedipus moves through a dizzying array of concepts, conceptual distinctions, and registers. In this brief account I have concentrated on the concepts, distinctions, and registers I deemed pertinent in understanding the situation of minoritarian movements within the postmodernism debate, thereby perhaps giving the misleading impression that Anti-Oedipus offers a closed system. What it does do, though, is explicitly leave behind established oppositions, exclusive disjunctions, such as unification/fragmentation and undifferentiation/exclusive differentiation (a full list would be very long), replacing them with a proliferating array of new inclusive disjunctions. From register to register and from distinction to distinction, Anti-Oedipus stresses the “simultaneity,” “coexistence” (117, 278, 375), and inseparability (318) of the two terms of its distinctions; between the two terms, there are oscillations (260, 278, 315, 376), perpetual, subtle and uncertain shiftings, “border or frontier phenomena ready to cross over to one side or the other” (126), “underground passages” (278), the possibility of “going from one side […] to this other side” (380); the two terms “interpenetrate” (378), are “contained in […] one another” (324), “continually deriving from” each other (349). In short, ” it is clear how everything can coexist and intermix” (377).31 32 33 When Anti-Oedipus declares that “we live today in the age of partial objects,” it brings into focus not a world of fragmentation in need of unification, but a “world of transverse communications,” with its “myriad little connections, disjunctions, and conjunctions,” threatening late capitalism with extinction (42, 319, 315).

     

    This world finally enters the postmodernism debate in 2000, with Hardt and Negri’s Empire. Profoundly influenced by Deleuze and Guattari, Empire continues, updates, and renews their work. It announces the end of a postmodernism debate dominated by the “alternatives” of unification versus fragmentation; instead it views both “alternatives” as part of “corruption,” the Empire’s ontological nullification of Deleuzo-Guattarian “pure multiplicity,” or what Empire calls “multitude” (both names for the creativity interaction of minoritarian movements). Corruption is the “substance and totality of Empire”–of the new societies of control (391). “At the base of all these forms of corruption there is an operation of ontological nullification”: “the multitude must be unified or segmented into different unities: this is how the multitude has to be corrupted” (391, emphasis added).

     

    To elaborate further the possibilities and challenges of this “deterritorializing” and “schizorevolutionary” turn in the postmodernism debate would require us to consider Deleuze and Guattari’s notion of “becoming minoritarian” as it is developed in Kafka, their sequel to Anti-Oedipus; in A Thousand Plateaus, (especially in reference to Deleuze’s quick sketch there of the new “societies of control”); and, finally, in Hardt and Negri’s Empire.34 We can only say here that such a turn offers our best hope of an escape from both fragmentation and unification toward “myriad little” minoritarian interconnections. While the contribution of minoritarian movements to academic scholarship in the humanities is now undeniable, their very institutional success is presenting us with a new challenge: as we jettison the canonical treatises on postmodernism which would relegate these movements to the status of troubling symptoms, will the movements themselves prove better able to tolerate the seeming loss or chaos of intermixing, better able to produce a new kind of thinking that takes place across, between, and together?

     

    Notes

     

    A version of this essay was delivered at the “Effects of Reading” seminar at Merton College, Oxford University, on 9 November 2001. I would like to thank the organizers, Clare Connors, Lydia Rainford, and Sarah Wood, and the participants for their helpful comments. Thank you to Gerard Greenway for his many criticisms. I would also like to thank Postmodern Culture‘s reader and editors for their helpful suggestions for revision–I am especially grateful to Jim English for his generous help.

     

    1. The case for the centrality, in the postmodernism debate, of “Postmodernism, or the Cultural Logic of Late Capitalism” and its earlier version, “Postmodernism and Consumer Society” (1982), is strongly made by Anderson. I agree with the general point but understand this centrality differently.

     

    2. A note informs us that “this essay was originally a talk, portions of which were presented as a Whitney Museum Lecture in fall, 1982; it is published here essentially unrevised” (111).

     

    3. I am indebted to Kellner.

     

    4. “What is decisive in the present context is his [Mandel’s] notion that, with the worldwide recession of 1973-74, the dynamics of this latest ‘long wave’ are spent” (“Periodizing” 206).

     

    5. In the texts by Jameson I examine, there is only one other such instance, one moment of “juncture” between Marxism and feminism: see “Cognitive Mapping” 355.

     

    6. See, for example, Hardt and Negri 234-39, 268-69, 272-76, 402-03. What they call the “multitude” is a Deleuzo-Guattarian “pure multiplicity” (see final part of this essay).

     

    7. We have already seen above an early version of this argument in “Postmodernism and Consumer Society,” including two of the three elements of genuine political expression, the individual and the norm: Jameson argues that “each group com[es] to speak a curious private language of its own,” at the expense and to the detriment of “normal language […] of the linguistic norm,” as well as at the expense of “a unique personality and individuality, which can be expected [unlike groups] to generate its own unique vision of the world” (114).

     

    8. This fragmentation is “also a political phenomenon, [as] the problem of micropolitics sufficiently demonstrates” (“Postmodernism, or the Cultural” 65).

     

    9. Throughout the pieces I examine, the only content Jameson ever gives socialism is in a sentence in “Cognitive Mapping”: socialism is “a society without hierarchy, a society of free people” (355); at the same time, the road to socialism seems to require a rigid hierarchical distinction between the unifier (the Left) and those in need of unification (minoritarian movements).

     

    10. The “disappearance of the American radical past” involves the loss of the “activities and the intentionalities” that focus the present and anchor the past so that it neither drifts away nor suddenly and unintentionally invades the present (as in the schizophrenic incident discussed above which Jameson considers ahistorical); it also involves “some degraded collective ‘objective spirit’” rather than “the old monadic subject” (“Postmodernism, or the Cultural” 70, 73, 71).

     

    The voice that speaks is that of a degraded collective spirit rather than that of an individual; grasping the “historical referent” with a firm hand is replaced by sudden invasions of the past into the present–Toni Morrison’s Beloved seems a good example of what Jameson would call ahistorical.

     

    12. See, for example, Arendt.

     

    13. In this context, Hutcheon reverses Jameson’s argument in relation to Doctorow’s Ragtime (see n11): “it could be argued that a relatively unproblematized view of historical continuity and the context of representation offers a stable plot structure to Dos Passos’s USA trilogy. But this very stability is called into question in Doctorow’s […] Ragtime” (95).

     

    14. See also The Condition of Postmodernity 98.

     

    15. Hutcheon had already published A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge, 1988).

     

    16. Intriguingly, Hutcheon doesn’t even mention the name of Luce Irigaray, the feminist philosopher most closely associated with “sexual difference.”

     

    17.The hostile reception to Hegemony and Socialist Strategy crystallized in Geras.

     

    18. See “Building a New Left”: “I have never been a ‘total’ Marxist, someone who sought in Marxism a ‘homeland'[…] The ‘language games’ I played with Marxism were always more complicated, and they always tried to articulate Marxism to something else” (178).

     

    19. This is “a pure dispersed and anarchic multiplicity, without unity or totality, and whose elements are welded, pasted together by the real distinction or the very absence of a link” (324).

     

    20. “Myriad break-flows […] determine the positive dispersion in a molecular multiplicity” (342).

     

    21. The body without organs and the partial objects can be described in terms of Spinoza’s substance and attributes, in that the body without organs is immanent while the partial objects are “distinct and cannot […] exclude or oppose one another” (327, see also 309).

     

    22. That the body without organs allows a permanent revolution–breaking and remaking–of connections which might otherwise become fixed is an important point stressed by. Holland, throughout his articles and books on Deleuze and Guattari. See, for example, Deleuze and Guattari’s Anti-Oedipus 28, 35-36, 96-97. However, as we will see, the body without organs also lends itself to a “paranoiac fascisizing” use, hence what Holland calls its “constitutive ambivalence” (38).

     

    23. In the so-called “sixth chapter” of Capital, Marx shows how capital comes to appear as “a quite mysterious being” (516).

     

    24. The body without organs and the partial objects are “two kinds of desiring-machine parts, in the dispersion of the machine itself” (329); the desiring-machine “brings together–without unifying or uniting them–the body without organs and the partial objects” (327); then comes “the last part of the desiring-machine, the adjacent part” (330). “Here are the desiring-machines, with their three parts: the working parts, the immobile motor, the adjacent part” (338).

     

    25. The segregative use of the conjunctive synthesis “brings about the feeling of ‘indeed being one of us,’ of being part of a superior race threatened by enemies from outside” (103). When God is dead, and when modernity has destroyed all that is solid, the segregative use involves “an enormous archaism,” a spiritual, transcendent, eternal entity (104). The “segregative use […] does not coincide with divisions between classes, although it is an incomparable weapon in the service of a dominating class” (103). While there are obvious examples which turn this argument into a truism–such as the Jewish conspiracy against the spirit of the German people in the eyes of the Nazi–the edge of this argument becomes more clear with less obvious examples. To give one, in relation to the agonizing debate in feminism as to whether or not feminism needs a strategic essentialism, that is, recourse to an essence of women as a common ground, the answer here would be: no, strategic essentialism is neither necessary nor helpful.

     

    26. For example, see: “objective or subjective […] That is not the distinction: the distinction to be made” is between paranoiac and schizorevolutionary investments (345); or “desire and its object are one and the same thing […] Desire is a machine, and the object of desire is another machine connected to it” (26). “Subject-groups […] have as their sole cause a rupture with causality” (377).

     

    27. See Anti-Oedipus 68-106.

     

    28. Artificial territorialities–as pseudo-transcendent objects “borrowed” from the despotic state and as “feeble archaisms bearing the greatest burden of current functions”–are immanent to capitalism yet “more and more spiritualised” (236, 268, 177). They are diffuse, so that “no one escapes”–not even groups with revolutionary aims (236).

     

    29. Deterritorialization, the axiomatic and reterritorialization are the three “surface elements” of capitalism (262).

     

    30. Jameson calls this latter passage “remarkable” (see “Marxism and Dualism in Deleuze” 19, 35 n.6) and describes Anti-Oedipus‘s analysis of capitalism as “surely one of the most interesting and promising lines of investigation opened up by the ‘Marxism’ of L’Anti-Oedipe” (20). See also Anti-Oedipus 257-58, 261.

     

    31. I agree with Paul Patton’s conclusion that “the concept of deterritorialisation [understood as connection of deterritorialisations] lies at the heart of Deleuzian ethics and politics, to the extent that Deleuze and Guattari’s mature political philosophy might be regarded as a politics of deterritorialisation” (136).

     

    32. See the “simultaneity of the two movements of deterritorialization and reterritorialization” (260).

     

    33. Subject-groups and subjugated groups “are perpetually shifting”; between the “paranoiac-segregative and schizonomadic […] [there are] ever so many subtle, uncertain shiftings” (64, 105).

     

    34. In a subtle and nuanced account of Anti-Oedipus and its sequel, A Thousand Plateaus, Jameson’s starting point is that Deleuze and Guattari use “great mythic dualisms such as the Schizophrenic and the molar or Paranoid” (“Marxism” 15) but he moves to the position that Anti-Oedipus “complexifies” some oppositions, though it retains “the great opposition between the molecular and the moral” (29). He concludes with the suggestion that such great mythic oppositions be grasped as reterritorializations carrying “the call of utopian transfiguration” (34). Anti-Oedipus makes clear on two occasions that reterritorializations are “ambiguous”–they can have a positive role when they are part of a movement of deterritorialization (258, 260). It also states that “everywhere there exist the molecular and the molar: their disjunction is a relation of included disjunction” (340).

     

    35. See Deleuze, “Control and Becoming” and “Postscript on the Societies of Control.”

     

    36. Corruption is the “substance and totality of Empire”–of the new societies of control (Hardt and Negri 391). “At the base of all these forms of corruption there is an operation of ontological nullification”: “The multitude has to be unified or segmented into different unities: this is how the multitude has to be corrupted” (391).

    Works Cited

    • Anderson, Perry The Origins of Postmodernity. London: Verso, 1998.
    • Arendt, Hannah. On Violence.London: Allen Lane, 1970.
    • Baudrillard, Jean. “Consumer Society.” Trans. Jacques Mourrain. Jean Baudrillard: Selected Writings. Ed. Mark Poster. Cambridge: Polity, 1988. 29-56.
    • —. La société de consommation. Paris: Denoël, 1970.
    • Benjamin, Walter. “Theses on the Philosophy of History.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. London: Fontana, 1992. 245-55.
    • Connor, Steven. Postmodernist Culture: An Introduction to Theories of the Contemporary. Oxford, UK: Blackwell, 1989.
    • Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. R. Hurley, M. Seem, and H.R. Lane. London: Athlone, 1984.
    • —. Kafka: Toward a Minor Literature. Trans. Dana Polan. Minneapolis: U of Minnesota P, 1986.
    • —. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: Athlone, 1988.
    • Deleuze, Gilles. Negotiations 1972-1990. Trans. Martin Joughin. New York: Columbia UP, 1995.
    • —. “Control and Becoming.” Interview with Antonio Negri. Negotiations. 169-76.
    • —. “Postscript on Control Societies.” Negotiations. 177-82.
    • Geras, Norman. “Post-Marxism?” New Left Review 163 (May-June 1987): 40-82.
    • Hardt, Michael, and Antonio Negri. Empire. Cambridge, MA: Harvard UP, 2000.
    • Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Oxford, UK: Basil Blackwell, 1989.
    • Helmling, Steven. The Success and Failure of Fredric Jameson: Writing, the Sublime, and the Dialectic of Critique. Albany, NY: SUNY P, 2001.
    • Holland, Eugene W. Deleuze and Guattari’sAnti-Oedipus: Introduction to Schizoanalysis. London: Routledge, 1999.
    • Hutcheon, Linda. The Politics of Postmodernism. London: Routledge, 1989.
    • Jameson, Frederic. “Cognitive Mapping.” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. Urbana, IL: U of Illinois P, 1988. 347-60.
    • —. “Conclusion: Secondary Elaborations.” Postmodernism, or, the Cultural Logic of Late Capitalism. London: Verso, 1991. 297-418.
    • —. Foreword. The Postmodern Condition. Jean-François Lyotard. Trans. Geoff Bennington and Brian Massumi. Manchester: Manchester UP, 1984. vii-xxi.
    • —. “Marxism and Dualism in Deleuze.” A Deleuzian Century? Ed. Ian Buchanan. Durham, NC: Duke UP, 1999. 13-36.
    • —. “Periodizing the 60s.” The Sixties without Apology. Spec. issue of Social Text. Ed. S. Sayres. Minneapolis: U of Minnesota P, 1984. 178-209.
    • —. “Postmodernism and Consumer Society.” Postmodern Culture. Ed. Hal Foster. London: Pluto, 1985. 111-25.
    • —. “Postmodernism, or the Cultural Logic of Late Capitalism.” New Left Review 146 (1984): 53-92.
    • Kellner, Douglas, ed. Postmodernism–Jameson–Critique. Washington, DC: Maisonneuve, 1989.
    • Laclau, Ernesto. “Building a New Left.” New Reflections on the Revolution of Our Time. Ernesto Laclau. London: Verso, 1990. 177-96.
    • —. “Politics and the Limits of Modernity.” Postmodernism: A Reader. Ed. Thomas Docherty. Hempstead, UK: Harvester Wheatsheaf, 1993. 329-43.
    • Laclau, Ernesto, and Chantal Mouffe. Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso, 1985.
    • Mandel, Ernest. Late Capitalism. London: New Left, 1975.
    • Marx, Karl. Karl Marx: Selected Writings. Ed. David McLellan. Oxford: Oxford UP, 1977.
    • Patton, Paul. Deleuze and the Political. London: Routledge, 2000.
    • Williams, Raymond. The Country and the City. London: Hogarth, 1985.

     

  • The Time of Interpretation: Psychoanalysis and the Past

    Jason B. Jones

    Department of English
    Central Connecticut State University
    jonesjason1@ccsu.edu

     

    In his seminar of 1966-67 on the logic of fantasy, Jacques Lacan reported to his audience that he had recently been asked what need, what exigency drove him to theorize the objet a as object/cause of desire. According to the transcripts of this unpublished seminar, Lacan also passed along his answer: it was about time. This witty response discloses an important insight into Lacan’s re-reading of Freud: psychoanalysis, in its metapsychology and its clinical orientation, is fundamentally a theory of temporality and history. When we speak of sexuality or the unconscious, for instance, we are essentially just euphemizing the past. And although psychoanalysis is obsessed with the past, it also, in the Lacanian approach, demands that we reject memory and our common experiences of the past. In its place, we are offered retroaction or Nachträglichkeit, deferred action: a system whereby future events control the meaning of ones in the past. To put all of this a slightly different way: within psychoanalysis, effects frequently determine their causes, rather than the other way around. This way of thinking, I want to suggest, is psychoanalysis’s most original interpretive contribution, and recalling its structure may be helpful to humanists and psychoanalysts alike. For, culturally as in the clinic, the best interpretations arise from a proper understanding of retroaction.

     

    If “everyone knows” that Lacan emphasizes deferred action, nonetheless it is the case that the peculiar mode of causality this implies is still far from understood. Joël Dor has argued that the problem with so-called “wild” analysis–and, implicitly, the sociocultural or literary application of psychoanalysis–is its application of a positivistic causal model to psychoanalytic theory (5-6). And as I will show, even sophisticated versions of political analysis often fall on the side of memory or reminiscence rather than history, properly (or, at any rate, psychoanalytically) speaking. The bizarre temporal logic of Lacanian psychoanalysis, in other words, potentially clarifies the stakes of social and cultural psychoanalysis, especially as such a project seeks to grapple with the “mutual foundering of the subjective and the social” (Jones, “Revisiting” 29).

     

    I. Two Sides of the Ahistorical Coin

     

    Before turning to the particulars of this argument, I want briefly to acknowledge two widely held criticisms of psychoanalysis, both founded on the idea that it is either ahistorical or aggressively hostile to history. We can call these criticisms “universalist” and “deterministic.”

     

    Many people of course reject psychoanalysis for purporting to discover universal traits, such as the Oedipus complex, the fact of castration, or even the unconscious. In this argument, universal traits are supposed to be outside of history, present in all cultures and across all times. Some people accept that universal traits are in principle possible, but claim that Freud’s “discoveries” are unverifiable. For others–and perhaps this route has been more common in the humanities over the past two decades–universality itself has come under suspicion, generally as a masquerade for power.1 Whatever the particular objection, critics who lament psychoanalysis’s universalism typically point to the variety of human sexual and familial relations as a prima facie disproof of Freud. The best response to these objections has come from writers such as Joan Copjec, Charles Shepherdson, and Slavoj Zizek, who, each in their different ways, observe that the universalist argument misses the point: rather than prescribing a single model of development for everyone, psychoanalysis instead sets itself the task of explaining why sexuality and identity are not natural.2 Freud himself puts this well in the Three Essays on the Theory of Sexuality (1905), explaining that “the sexual instinct and the sexual object are merely soldered together,” which means that every person’s sexual choices warrant explanation, rather than being self-evident or only biological (148). The florid variance of sexual and familial dispositions, and their shifts over time, confirm psychoanalysis rather than contradict it. In fact, we could turn the universalist criticism around: psychoanalysis would be at a loss to interpret a symptom-free society with static family and sexual arrangements. Psychoanalysis explains how we can experience history at all, complete with a distinct past, present, and future, as opposed to a ceaseless and cyclical natural rhythm, where temporality is not in question.

     

    While the universalist view is now espoused mainly (though not exclusively) by psychoanalysis’s critics, the determinist view is, as it were, analysts’ and theoreticians’ in-house way of denying history. There is of course a grain of truth in the popular notion that psychoanalysts always blame childhood wishes and conflicts for adults’ suffering. According to the cliché, the analyst begins by asking the analysand to “tell me about your mother”–suggesting that the root of one’s problems is to be discovered in the history of the mother’s misdeeds. But of course if suffering stems from infantile desires, then we are essentially saying that, in some basic way, people never grow up: we are, in effect, denying the operative force of history. Any theory of history has to be able to accommodate change, and, in too many versions of psychoanalysis, change is essentially ruled out. And though I will return to this point in some detail later, let me say briefly that developmental versions of psychoanalysis reproduce this difficulty in a more putatively scientific form. By taking the fables and mythologies of psychoanalysis literally, rather than as logical explications of fantasy, developmental accounts of psychoanalysis tend to deny the contingency of events in favor of a schematic, and therefore nonhistorical, approach to the past. A more insidious version of determinism arises when we conceive of the restoration of the past as an important goal of analysis–when we try, as the expression goes, to make the telling fit the experience–rather than conceiving of that restoration as merely an early step to be overcome. This mode of analysis depends on the coercive demands of shared reality and on the tyranny of the past. Moreover–and this is a point I will return to soon–it assumes that the subject “fits” the world.

     

    This version of determinism is, as I have said, insidious, because it’s nearly impossible to avoid. I can illustrate this difficulty with a recent example. In “The Direction of the Treatment and the Principles of Its Power” (1958), Jacques Lacan dismisses the recuperative powers of memory. Here’s how Bruce Fink renders the passage in his new re-translation:

     

    But that, of course, is no more than a misconception: one does not get better because one remembers. One remembers because one gets better. Since this formulation was found, there has no longer been any question regarding the reproduction of symptoms, but only regarding the reproduction of analysts; the reproduction of patients has been resolved. (249)3

     

    Fink glosses this paragraph with a footnote: “this entire paragraph seems to be ironic, Lacan clearly agreeing with Freud that one gets better because one remembers” (“Direction” Fink 345n). What’s notable about this footnote is the way that a moment of doubt–registered by seems–is immediately braced into certainty by a foregone conclusion of what Lacan must mean–registered by clearly (and when has it ever been safe to describe the Écrits as “clear”?). But Fink’s certainty is arguably too hasty. This paragraph from “The Direction of the Treatment” is consistent, for example, with Lacan’s explicit insistence, in Seminar I: Freud’s Papers on Technique (1953-54), that “it is less a matter of remembering than rewriting history” (Seminar I 14/Le séminaire I 20). In an analysis, Lacan emphasizes, it is rewriting history that makes one better, and which then allows one to “remember” more. As I will be arguing throughout this essay, the crucial thing to keep in mind is that Lacan means this point about rewriting history literally: it’s not a question of making one’s contemporary telling fit the past experience; instead, it’s a matter of changing the past experience–or, perhaps more precisely, of changing its structural inscription in the signifying chain–such that it corresponds with one’s contemporary telling. The paradox of psychoanalysis is that this historical writing is undertaken in the name of futurity, not revisionism. Indeed, the first two seminars carefully distinguish between the everyday experience of memory, which Lacan deprecates as reminiscence, and the structuring effects of symbolic memory, which he often calls rememoration. His disdain for reminiscence persists throughout the decades of the seminar. In the passage from “The Direction of the Treatment,” Lacan means that the efflorescence of memory that accompanies a successful interpretation reflects rather than produces the rewriting of the symbolic necessary to an effective treatment. Rather than being “ironic” in this passage, Lacan is stating his point in plain speech: interpretation provides meaning and truth to otherwise senseless events.

     

    One need not be especially adept in either psychoanalysis or literary criticism to recognize that such precipitous certainty suggests anxious defense. (Especially Fink, in The Lacanian Subject [1995], afforded such painstaking and enlightening scrutiny to Lacan’s claims about symbolic memory from the first two seminars and “Direction.”) The cherished dogma, in this instance, is that the truth–represented by memory–will set us free. The claim that remembering makes one better salves the ego, and serves as a palliative to those anxious about psychoanalysis’s status as a science or therapeutic practice. The analyst makes a pact with the analysand’s ego, saying, in effect, “Come with me, and I will help you discover the truth about your past, and how you have come to be what you are. It may be difficult, and you will have to overcome resistances, but ultimately you will conquer the unconscious’s fantasmatic version of reality. You will soon learn that you and reality are not in conflict, but fundamentally in accord.” And that means psychoanalysis is really and truly a science, because it is oriented toward reality, appealing constantly to it as the guarantor of psychic health. While of course most analysts have–and certainly Bruce Fink has–a more complex view of how analysis works, I think it’s fair to characterize this view as the unacknowledged or unconscious fantasy of analysis itself, and to say that it constantly threatens to override psychoanalysis’s distinctive approach to causality and the past.

     

    Despite my criticisms of the determinist view, I want to acknowledge that psychoanalysis does accept a certain determinism, albeit an inverted determinism according to which the future determines the past. For the time of psychoanalysis is neither developmental nor experiential, but retroactive. Freud ceases to be a psychologist and becomes the inventor of psychoanalysis when he rethinks the etiology of hysteria: in Studies on Hysteria (1895), Freud maintained that “hysterics suffer mainly from reminiscences” (7)–which means that they suffer from their past–while in The Interpretation of Dreams (1900 [1899]) he shifts ground, arguing “hysterical symptoms are not attached to actual memories, but to phantasies erected on the basis of memories” (529-30)–which means that their unconscious has literally changed their past. Instead of suggesting that psychoanalysis aims to recover the past, then, I want to suggest that its sense of the past is logical, not experiential. Its temporality emerges in phrases like Freud’s claim that every finding of an object is in fact a re-finding (Three 222); in Jean Laplanche’s observation that sexuality and the unconscious lean upon the biological order (15-18); and in Lacan’s mathemes and topological fever-dreams. The point is that causality and history work retroactively, belatedly–in a word, according to Nachträglichkeit. On the one hand, this is a point obvious to anyone who has read Freud or Lacan. Lacan’s discovery, in Freud’s text, of deferred action ought incessantly to remind us of the doubtful relevance of what we usually think of as memory, and of what we normally think of as the past.

     

    II. The Picture of the Past

     

    Psychoanalysis, Lacan always says, has no tools at its disposal but speech. Psychoanalysis speaks to the subject of enunciation–of speaking as such–rather than the subject of the enunciated–of the particular thing that is said: “there is no unconscious except for the speaking being” (Television 5). This focus emphasizes two temporal dimensions of analysis. First, an abyss of time yawns between the beginning and ending of an utterance: in that abyss, and in no other time or place, can you find the subject. Second, by focusing on speech, Lacan emphasizes a retroaction proper to subjectivity: the end of the utterance completes the meaning of the beginning, and in some instances radically revises it. But Lacan also means that what the subject says is a bit of a ruse, a lure, a trick. The subject is always saying one thing and unknowingly meaning another. This is commonly misunderstood: it’s not so much that the subject’s speech is a kind of double entendre in its content; rather, the point is that there’s a structural double entendre inherent to speech. The hysteric’s symptoms and refusals amount to a kind of question: che vuoi? Why am I what you say that I am? No matter what the content of the speech, the message is always elsewhere, on that Other stage.

     

    The point of dwelling on this aspect of analysis is that the subject’s speech is so frequently obsessed with the past. In five texts from the 1950s–Seminar I (1953-1954), Seminar II: The Ego in Freud’s Theory and in the Technique of Psychoanalysis (1954-55), “The Freudian Thing” (1955), “The Instance of the Letter in the Unconscious, or, Reason since Freud” (1957), and “The Direction of the Treatment” (1958), Lacan repeatedly makes the same two arguments: if you think you understand what the analysand is saying, you’re wrong; and you’re never more wrong than when the analysand is speaking of the past. He argues that in most analyses, the analyst and analysand make the same mistake: both believe in the truth of what they are saying about the patient’s past, symptoms, and “cure.” Perhaps more precisely, they are alike deluded by the emotional verisimilitude of the analysand’s memories.

     

    For the seductiveness of the past constitutes the engine and the risk of analysis–a Janus-faced reality that emerges immediately whenever Freud writes on technique. Consider, for instance, this remarkable description of psychoanalytic progress from “The Future Prospects of Psycho-Analytic Therapy” (1910):

     

    At its beginning psycho-analytic treatment was inexorable and exhausting. The patient had to say everything himself, and the physician's activity consisted of urging him on incessantly. To-day things have a more friendly air. The treatment is made up of two parts--what the physician infers and tells the patient, and the patient's working-over of what he has heard. (141)

     

    Even granting the Rotary Club atmosphere of this particular essay, in which Freud tries to recruit more adherents to the psychoanalytic movement, there is something a little disquieting about a description in which the only person who speaks is the analyst! A more typical view–and one that is often quoted–is found in “Constructions in Analysis” (1937), where he claims that “what we are in search of is a picture of the patient’s forgotten years that shall be alike trustworthy and in all essential respects complete” (258). What I will be claiming throughout this section is that this view of analysis is a sort of trick. Certainly, there is an attempt to attain a complete version of the past, but not because it is valuable in itself. Narratives about the past turn out to be a sort of royal road to the unconscious, better even than dreams, because the constant disruptions of the “picture […] in all essential respects complete” force the analysand into a dawning recognition that language speaks us.

     

    This emphasis on the self-estrangement of historical narrative emerges early in Freud’s descriptions of technique. In a short, eponymous encyclopedia article, called “Freud’s Psycho-Analytic Procedure” (1904), he declares that, after explaining the analytic rule to his analysands, he immediately asks for a “detailed account of their case history” (251). At first glance, this seems trivial and self-evident: of course the doctor will want to know his patient’s history. But surely if the idea of repression means anything it means this: that analysands are constitutively incapable of delivering the goods when it comes to their own illness. It is not only that they will have forgotten or confused key details, but that the story they want to tell is almost certainly not the story that they should be telling, at least not if they want to improve. (And, for that matter, there is no reason to trust that the analysand will want to improve–after all, the subject has a passion for ignorance, and if improvement were simply a matter of wanting to, psychoanalysis would just be an especially trite form of self-help.)4 In other words, a founding axiom of Freudian technique is that anything the analysand says during this “detailed account” will be misleading.

     

    Misleading, at least, at the level of content. Freud declares in this encyclopedia article that asking for a history of the case has a pragmatic benefit: the analysand’s historical narrative will produce a useful number of “associations,” which Freud defines as “the involuntary thoughts (most frequently regarded as disturbing elements and therefore ordinarily pushed aside) which so often break across the continuity of a consecutive narrative” (251). In other words, Freud asks for a narrative because he knows he will not get one. If analysands follows the analytic rule, then their narratives will always be interrupted. The claim here is not that the associations are the “true” history, or that they inadvertently provide relevant facts that the analysand has forgotten. Instead, Freud calls our attention to their meaningless disruptiveness. Put another way, it is the disruption that is the meaning, insofar as it signifies the existence of an Other speaker. Lacan characterizes this emphasis on disruption thus: “following the thread of analytic discourse goes in the direction of nothing less than breaking up anew, inflecting, marking with its own camber–a camber that could not even be sustained as that of lines of force–that which produces the break or discontinuity” (Seminar XX 44/ Le séminaire XX 44). The analyst must, on the one hand, inflect the analysand’s discourse otherwise, in order to note moments of disruption, but as he says here, this marking cannot be sustained–it cannot, in other words, support a new narrative. In a Lacanian analysis, this point is embodied in the technique of punctuation, which enables the analysand to see that, to a certain degree, even the purportedly consecutive narrative is in fact a failure to master speech. As Lacan succinctly explains in “The Function and Field of Speech in Psychoanalysis” (1953), “punctuation, once inserted, establishes the meaning; changing the punctuation renews or upsets it; and incorrect punctuation distorts it” (96/”Fonction” 313-14). In other words, in the course of their narratives, analysands will naturally lend emphasis to certain words or phrases, an emphasis that is as much a part of their meaning as any lexical definition. The analyst tries to shift that emphasis in a variety of ways–by ending the session, by a request to repeat a word, or even by a well-timed “Hmm?” The effect, Lacan asserts, is to reveal to the analysand that there is an unconscious: “in order to free the subject’s speech, we introduce him to the language of his desire, that is, to the primary language in which–beyond what he tells us of himself–he is already speaking to us unbeknown to himself, first and foremost, in the symbols of his symptom” (80/”Fonction” 293). This amounts to a lesson in non-mastery: that the stories analysands want to tell about their past are not the whole story. During the first months of an analysis, the analyst’s interventions may well be confined simply to punctuating the analysand’s speech in this fashion. In section three, we will reconsider punctuation and its relation to what is called regression; for now it is enough to note that for both Freud and Lacan, what is punctuated, early in the analysis, is analysands’ narratives about the past.

     

    Why does the past need to be punctuated so aggressively? What is it about analysands’ narratives of their past that cries out for resignification? To answer these questions, Lacan distinguishes two kinds of memory, reminiscence and rememoration. In effect, reminiscence is our everyday experience of memory, the historical narrative offered up by the analysand; as I will show in section three, rememoration is Lacan’s name for the work of symbolic memory, the structural history of the subject, which organizes its existence but which cannot be brought forward into consciousness.

     

    The first two seminars, and many of the early écrits, devote themselves to Lacan’s critique of aiming at reminiscences as an analytic end in themselves. He claims, in Seminar II, that “reminiscence properly speaking […] is the passage into the imaginary” (320/Le séminaire II 369). The argument here is obviously not that the memories are false, though that may be the case. Instead, Lacan wants us to see that reminiscences buttress, or, at the bare minimum, refuse to challenge, our self-image. The specificity of psychoanalysis’s approach to memory emerges when we recall that even traumatic memories are imaginary in this way. Freud repudiates the seduction hypothesis in 1897, when he decides that his patients are at least sometimes not remembering actual events of abuse, but rather reporting fantasies that enact unacknowledged desires. Psychoanalysis begins with the observation that sometimes it is more comforting to imagine oneself a victim than to acknowledge experiencing certain desires.

     

    Lacan’s point is not merely that reminiscences can bolster the self-esteem of analysands. The term imaginary designates also the structuring fantasy of a unified body–that is, it refers to our psychic picture of our bodily unity, a unity that often clashes with our experience of our bodily life. It is this imaginary unity that justifies Freud’s claim that the ego is a bodily ego. In “The Freudian Thing,” Lacan observes that reminiscences will always be voiced in relation to this unity:

     

    It is not because of some mystery concerning the indestructibility of certain childhood desires that the laws of the unconscious determine analyzable symptoms. The subject's imaginary shaping by his desires--which are more or less fixated or regressed in relation to the object--is too inadequate and partial to provide the key. (133/"La chose freudienne" 431)

     

    What persists from childhood is less a particular wish or desire that could be recalled to mind than a structuring outlook on the world, a tendency to assume that a present-day desire means one thing and not another, or at any rate, that it can be alleviated or satisfied one way and not another. Lacan instead wants to emphasize memory’s signifying structure, and the metaphorical transformations through which trauma becomes represented in the psyche.

     

    Lacan also claims that reminiscences mistake the subject’s relationship to objects. Freud said that every object is in fact a re-found one. As we have just seen, a reminiscence associates a particular object with a recollected desire–that is, it specifies a particular object as the source of satisfaction or trauma. Viewed this way, the history offered by the analysand will be the story of innumerable inadequate substitutes for the one real loss. But such a perspective misunderstands the relationships of objects out there in the world to the subject’s objects:

     

    Freud distinguishes two completely different structurations of human experience--one which, along with Kierkegaard, I called ancient, based on reminiscence, presupposing agreement, harmony between man and the world of his objects, which means that he recognizes them, because in some way, he has always known them--and, on the contrary, the conquest, the structuration of the world through the effort of labour, along the path of repetition [...]. The object is encountered and is structured along the path of a repetition--to find the object again, to repeat the object. Except, it is never the same object which the subject encounters. In other words, he never ceases generating substitutive objects. (Seminar II 100/Le séminaire II 124-25)

     

    The proximate target of this argument is, of course, Plato’s theory of reminiscence, which holds that the soul recognizes truth in the world because it has always known it (in the eternal forms). The analogy is explicit: if every finding is a re-finding, as Freud says, then this must mean that objects in the world elicit desire because they correspond with some lost object that once provided satisfaction. Memory, on this reading, consists of the more-or-less passive reception of impressions from the world.

     

    Lacan rejects this view utterly, arguing that we are constantly making the world, including the world of desire. Every new object substitutes for an object that was primally lost, not thanks to a putative correspondence, but because of the structure of signification. In “The Instance of the Letter,” Lacan writes that only because remembering can be “rooted in the signifier” that it “resolves the Platonic aporias of reminscence” (158/”L’instance” 519), a point he glosses in the seminar this way: “the object of the human quest is never an object of rediscovery in the sense of reminiscence. The subject doesn’t rediscover the preformed tracks of his natural relation to the external world. The human object always constitutes itself through the intermediary of a first loss. Nothing fruitful takes place in man save through the intermediary of a loss of an object” (Seminar II 136/Le séminaire II 165). Two things are worth emphasizing here: the first is that the subject does not so much remember the past as recreate it, in part because what the subject remembers is the wrong thing: “in man, it is the wrong form which prevails” (Seminar II 86/Le séminaire II 109). The second point is that conceptualizing analysis as the restoration of the past is wrongheaded. If the restoration of the original object were even possible, it would spell the death of desire. As Lacan will argue in the seminar on anxiety, “the subject must fail, necessarily, so that its desire is not suffocated” (Harari 99). Every object is a re-found object, but happily, not the original one.

     

    Like Freud, Lacan claims that an analysis progresses toward the past: “the path of restitution of the subject’s history takes the form of a quest for the restitution of the past” (Seminar I 12/Le séminaire I 19). The key words here are “history” and “takes the form of,” since at those moments Lacan distinguishes between what analysands believe they are being asked to produce–that is, memories in the form of reminiscence–and the level at which the analysis is intervening–that is, history and rememoration. You cannot simply explain to the analysand that what is unfolding is imaginary, because, of course, this would elicit aggression. In other words, as he declared in the seminar on “The Names-of-the-Father,” “the praxis of analysis is obliged to advance toward a conquest of the truth via the pathways of deception” (“Names” 95). Or, somewhat less provocatively: “what is involved is a reading, a qualified and skilled translation of the cryptogram representing what the subject is conscious of at the moment” (Seminar I 13-14/Le séminaire I 20). The shift from “a picture of the past […] essentially complete” to a “cryptogram” of the analysand’s consciousness during a session gestures beyond the imaginary, to the symbolic rewriting of history that characterizes a Lacanian analysis.

     

    III. “Making the Telling Fit the Experience”

     

    Ni du côté de la nature, de sa splendour ou de sa méchanceté, ni du côté du destin, la psychanalyse ne fait de l’interprétation une herméneutique, une conaissance, d’aucune façon, illuminante ou transformante.

     

    –Lacan, “De la psychanalyse dans ses rapports avec la réalité” (352)5

     

    Some of the issues I have been raising may come into clearer focus if I acknowledge one of the meanings of my title: a chief “time of interpretation” is, of course, the notorious Lacanian principle of the variable-length session, derisively referred to as the “short session” by Lacan’s critics. By varying the length of sessions, Lacan is able to make the temporal experience of a session meaningful; what’s most relevant here is his corollary assertion that restoring meaning to the analytic session is what makes authentic regression possible.

     

    Lacan’s argument for the variable-length session can be found most clearly in “The Function and Field of Speech” (1953):

     

    It is [...] a propitious punctuation that gives meaning to the subject's discourse. This is why the ending of the session--which current technique makes into an interruption that is determined purely by the clock and, as such, takes no account of the thread of the subject's discourse--plays the part of a scansion which has the full value of an intervention by the analyst that is designed to precipitate concluding moments. Thus we must free the ending from its routine framework and employ it for all the useful aims of analytic technique. (44/"Fonction" 252)

     

    If the session is over at the analyst’s discretion, rather than at the end of the fifty minutes, then the analysand is always left to consider why the session ended at that time: was it because something important was said, or because nothing at all had been said, and I was wasting time? Did the analyst have someplace to be? It stirs up the analysand’s discourse, making it more productive and responsive, if perhaps less comfortable. This provocation turns out to facilitate the reworking of symbolic history.

     

    When that has occurred, Lacan goes on to say in his next sentence, authentic regression can come into being:

     

    This is how regression can occur, regression being but the bringing into the present in the subject's discourse of the fantasmatic relations discharged by an ego at each stage in the decomposition of its structure. After all, the regression is not real; even in language it manifests itself only by inflections, turns of phrase, and 'stumblings so slight' that even in the extreme case they cannot go beyond the artifice of 'baby talk' engaged in by adults. Imputing to regression the reality of a current relation to the object amounts to projecting the subject into an alienating illusion that merely echoes one of the analyst's own alibis. (44/"Fonction" 252)

     

    As always, Lacan emphasizes here the gap between the act of utterance and what is being said. As we have seen, the subject’s speech, especially the narrative he tells of his history, is fundamentally imaginary: consistent with the ego and with the subject’s self-image. When variable-length sessions stir the subject up, they can potentially change the frame of such narratives, “decomposing” the ego that otherwise strives for unity. It is only as the subject recognizes the extent to which the ego’s tale is not the full story of his desire that some sort of change could be effected. And as Lacan suggests, inferring from the subject’s narrative that relations with the object are currently regressed is a kind of causalist myth of the type that he derided earlier.

     

    The variable-length session interferes with the analysand’s attempt to maintain the self-consistency of her discourse. In this sense, it echoes Freud’s advice from “On Beginning the Treatment” (1913), where he claims that a “systematic narrative should never be expected and nothing should be done to encourage it. Every detail of the story will have to be told afresh later on, and it is only with these repetitions that additional material will appear” (136). A systematic narrative should not be encouraged, of course, because that violates the analytic rule and impedes associations, as I discussed in the previous section. The argument here is not only that additional material will come into consciousness–though Freud partly means this; instead, the repetition of the narrative continually presses against the ego’s attempt at self-mastery. Since such imaginary unity is simply not possible, ever more material becomes available. The silent common ground between this early essay by Freud and Lacan’s controversial variable-length session is, simply, surprise: they alike emphasize ways of artificially disrupting the routine of everyday speech and narrative, in the name of a higher end: the truth.

     

    Truth has nothing to do with historical fact. Truth has nothing to with “what really happened.” Truth in analysis is an interpretation that functions as a cause, one that effects change. The analyst cannot know whether an interpretation will yield truth, because, as Lacan writes, the subject receives from interpretation “the meaning that makes this act an act of his history and gives it its truth” (“Function” 50/”Fonction” 259). In other words, an interpretation works because of the subject, not because of anything inherent in the offered interpretation. Again, the example of the variable-length session illustrates this nicely: if ending a session quickly produces a change in the analysand, it is not because the “message” from the analyst got through. It is because the meaning the analysand attributed to that interpretive act changed her approach to the analysis. And in Seminar IV, Lacan claims that all successful interpretation depends on misunderstanding: “C’est la façon dont il faut s’attendre à ce qu’elle se développe, c’est la moins anormale qui soit, et c’est justement dans la béance de ce malentendu que se développera autre chose qui aura sa fécondité” (341).6 Or, as he would put it a decade later, “an interpretation whose effects are understood is not a psychoanalytic interpretation” (“Responses” 114/”Réponses” 211). As we saw earlier, failure is crucial to the maintenance of desire; from a Lacanian point of view, analysis is partially about pushing a particular failed narrative until it has to be abandoned, leaving a space for a more tolerable narrative to emerge.

     

    In keeping with Freud’s notion of the association, the Lacanian re-reading of psychoanalysis uses fantasy and imaginary narrative at cross-purposes. Lacan famously begins his video Television with just this point: “I always speak the truth. Not the whole truth, because there’s no way, to say it all. Saying it all is literally impossible: words fail. Yet it’s through this very impossibility that the truth holds onto the real” (3/”Télévision” 509). What Lacan means here is that the failure of words to refer adequately to their meanings leaves a space for the subject to come into being. Because arriving at a final meaning is impossible, the subject has to commit itself to one meaning over others, and must suffer the consequences of that commitment. Viewed from this perspective, the gaps in the analysand’s narrative have an importance as gaps–as spaces of possibility for a different understanding–rather than simply as holes that would ideally be filled up.

     

    Psychoanalysis is therefore not a hermeneutics. It is not a question of uncovering hidden or secret meanings, but, rather, a question of making possible the discovery of truth. This discovery begins, as I have been insisting, when the subject accepts that imaginary unity is not the whole, or even the most interesting, story:

     

    In the course of analysis, as I have pointed out to you, it is when the traumatic elements--grounded in an image which has never been integrated--draw near that holes, points of fracture appear in the unification, the synthesis, of the subject's history. I have pointed out how it is in starting from these holes that the subject can realign himself within the different symbolic determinations which make him a subject with a history. Well, in the same way, for every human being, everything personal which can happen to him is located in the relation to the law to which he is bound. His history is unified by the law, by his symbolic universe, which is not the same for everyone. (Seminar I 197/Le séminaire I 222)

     

    This passage’s otherwise exemplary clarity is blurred by the use of “subject” to refer both to the person in analysis and the virtual subject on whose behalf an analysis typically is directed. Lacan here foregrounds the distinction between the “unification, the synthesis of the subject’s history”–that is, the imaginary narrative that the analysand wants to tell–and the “symbolic determinations” that give the subject a history. The trauma is “impossible” or unintegrated at the level of the imaginary (at the level of the ego), all the while registering itself in the subject’s symbolic history.

     

    This symbolic history is rememoration, and refers to the idea that the syntax or grammar of the psyche is itself a mode of memory–in fact, it is the only efficacious memory in an analysis, despite the fact that it cannot be invoked directly. Lacan sees the role of this rememoration as a way of negotiating the ego’s imaginary demands for unity and the traumatic “impossible” of the real. In Seminar XI (1964), he describes it this way: “When the subject tells his story, something acts, in a latent way, that governs this syntax and makes it more and more condensed” (68/Le séminaire XI 66). It is this syntax that an interpretation aims at, because it is what keeps the subject at a specified distance from the real. This is described in the Ethics seminar (1959-1960) through the notion of das Ding, the extimate arbiter of symbolic efficacy: “there is not a good and a bad object; there is good and bad, and then there is the Thing. The good and the bad already belong to the order of the Vorstellung; they exist there as clues to that which orients the position of the subject according to the pleasure principle” (63/Le séminaire VII 78). As we saw earlier, Lacan observes that the subject emerges against the backdrop of a primal loss, a loss that allows its desire to come into being and, indeed, which allows the existence of the subject itself. In the Ethics seminar, that lost item is das Ding, and the job of the pleasure principle and the various unconscious representations (Vorstellungen) is to remember precisely where that object was lost, so that it will not be directly refound. Instead, the symbolic order ceaselessly throws up substitutive objects that provide satisfactions at the level of Vorstellung, without threatening to approach too close to das Ding. An analysand will present for analysis because something at this level has gotten “jammed.” The task of interpretation is to “hit the real,” ideally allowing the subject to come unstuck.

     

    Symbolic memory is what functions according to the combinatory of metaphor and metonymy. Metonymy names, for Lacan, the sliding of desire from substitute object to substitute object. Metaphor, by contrast, “is the very mechanism by which symptoms […] are determined. Between the enigmatic signifier of sexual trauma and the term it comes to replace in a current signifying chain, a spark flies that fixes in a symptom–a metaphor in which flesh or function is taken as a signifying element–the signification, that is inaccessible to the conscious subject, by which the symptom may be dissolved” (“Instance” 158/” L’instance” 518). We should not be confused by the reference to “enigmatic signifier”: in contrast to Jean Laplanche, Lacan is not claiming that there is an original message to be deciphered. Instead, the signifier is enigmatic because it is both lost and remembered–lost, primally lost, but registered all the same within the symbolic. Metaphor names the process by which that signifier annexes others to itself. And because, as Lacan observes, a symptom is just an interpretation that doesn’t work, interpretation has to aim beyond the symbolic, trying to shift or uncouple das Ding from its formal representations. Symbolic memory is thus at a wholly other level than reminiscence, “even if the elements organized by the former as signifiers are borrowed from the material to which the latter give signification” (“Freudian Thing” 133/”La chose freudienne” 431). In other words, of course it is true that the signifiers that hold off das Ding are drawn from the subject’s experience. Yet they serve so different a purpose in the symbolic–being organized entirely in reference to an object that never existed in experience–that they are finally incommensurate with the subject’s own account of its life.

     

    This incommensurateness is, at the end of the day, the good news. Because there is only a metaphorical connection between the traumatic real and the experienced events of a person’s life, there is always an opportunity for new metaphors to emerge that will enable the analysand to find new sources for pleasure, new chances for satisfaction. And indeed, because symptoms work according to a process of signification and metaphor, their meaning is always deferred–including, paradoxically, the question of whether or not they are actually symptoms! The inference Lacan draws is that the future determines the past:

     

    The past and the future correspond precisely to one another. And not any old how--not in the sense that you might believe that analysis indicates, namely from the past to the future. On the contrary, precisely in analysis, because its technique works, it happens in the right order--from the future to the past. You may think that you are engaged in looking for the patient's past in a dustbin, whereas on the contrary, it is as a function of the fact that the patient has a future that you can move in the regressive sense. (Seminar I 157/Le séminaire I 180)

     

    Psychoanalytic interpretation creates a past for the analysand. On the one hand, as Dany Nobus has argued, this makes Lacanian analysis “less deterministic, for including more radical options of freedom, less historical, for [being] strictly future-orientated, and less restrictive, for also accommodating psychotic patients” (88). Yet it does not turn psychoanalysis into voluntarism, for the exact same reason that the “cure” works at all. You can’t make an efficacious intervention by simply repeating the truths of psychoanalysis: “Do not give way on your desire!” “There is no guarantor of virtue!” and so forth. After all, words fail. They fail because of the subject’s commitment to its imaginary narrative, but they also fail because history is real–because its thorny perdurability cleaves the subject’s discourse, resisting assimilation to either symbolic or imaginary memories.7

     

    IV. Time for Concluding

     

    People do History precisely in order to make us believe that it has some sort of meaning. On the contrary, the first thing we must do is begin from the following: we are confronted with a saying, the saying of another person who recounts his stupidities, embarrassments, inhibitions, and emotions. What is it that we must read therein? Nothing but the effects of those instances of saying. We see in what sense these effects agitate, stir things up, and bother speaking beings. Of course, for that to lead to something, it must serve them, and it does serve them, by God, in working things out, accommodating themselves, and managing all the same–in a bumbling, stumbling sort of way–to give a shadow of life to the feeling known as love.

     

    –Lacan, Seminar XX, Encore (45-46/Le séminaire XX 45)

     

    By way of conclusion, I want briefly to note the value of reframing Lacanian concepts in their clinical orientation. A couple of different kinds of advantages accrue. The first is that this optic corrects a series of difficulties in the American reception of Lacan, including the pervasive judgment that Lacan is more interested in philosophy than in the clinic. As Charles Shepherdson’s Vital Signs explains, until we start to understand the conceptual specificity of the Lacanian field, we can’t understand the projects of writers like Kristeva, Irigaray, and Foucault. Further, we will be encouraged to remember that Lacan is not a poststructuralist in the American sense–not, in other words, interested in the free play of the signifier, but rather the opposite of this: obsessed with why signifiers get “stuck” for a particular subject. We come closer to the real praxis of psychoanalysis when we insist on the clinical dimension of these texts. When we strip away Lacan’s concepts from their clinical dimension, we are oriented toward the empty speech of imaginary narratives.

     

    A second reason to think about the Lacanian clinic is that it will help us do our humanistic business. We better understand the complex structure of, say, Jameson’s “political unconscious” when we read his claim that “it is in detecting the traces of that uninterrupted narrative, in restoring to the surface of the text the repressed and buried reality of this fundamental history, that the doctrine of a political unconscious finds its function and necessity” (20). We can better understand the limits of traditional applied psychoanalysis, and renounce the practice of “psychoanalyzing” authors–or, at least, we can recognize this practice as a kind of folk psychology, fully responsive to the interpretive demands neither of psychoanalysis nor of literary criticism. It also reminds us of the privileged relationship–for both Freud and Lacan–between literature and analysis. Not only in the sense that Freud and Lacan both insisted that the preponderance of psychoanalytic training should involve a wide and deep reading in literature, either. According to Serge André, in Seminar XXIV: The Non-Known (1976-77), Lacan argues that “in contrast to the fraudulence of meaning, […] there is poetry, which can accomplish the feat of making a meaning absent. He invites his audience to find in poetry what psychoanalytic interpretation can hope to be […]. ‘Only poetry […] permits interpretation’” (327). Literature offers a field in which we can learn to break up the congealed meanings impeding our own psychic life. The analogy between an interpretation and, say, a poem is helpful: the “point” of an interpretation or a poem–whatever paraphrase of their meaning we could develop–is far removed from the material effects of their language. Tracking the effects of the signifier in language gives us the opportunity to watch our assumptions about the world fail: an aesthetic and ethical opportunity alive to the specificity alike of psychoanalysis and literature, and binding them both to the world.

     

    Notes

     

    I would like to thank several people for their comments on earlier versions of this essay: Kate Briggs, Kate Brown, Stephanie Cherolis, Dan Collins, Angela Hunter, Walter Kalaidjian, Howard Kushner, Gaurav Majumdar, Kareen Malone, Elissa Marder, and especially Adrian Johnston and Aimee Pozorski. Christopher Lane and Robert A. Paul also guided its development.

     

    1. Sometimes even psychoanalysts make this criticism–see, for instance, the introduction to the recent collection Bringing the Plague, which argues that “from a poststructuralist standpoint, the classical psychoanalytic notion of a psychic apparatus wholly or largely unformed by the multiple contingencies of a specific place, time, and society serves to naturalize and reinforce the privilege of those who hold power in the dominant culture of the West” (18).

     

    2. See Copjec, Shepherdson, and Zizek Sublime. I discuss Shepherdson’s argument in more detail in “Sexuality’s Failure.” Also relevant is the distinction Eric Santner draws between “universal” and “global” approaches to difference, in the opening pages of On the Psychotheology of Everyday Life (1-8).

     

    3. Fink’s translation here is essentially the same as Sheridan’s (see Sheridan 260). The French provides no insight as to the putative irony: “Mais ce n’est là bien entendu qu’une maldonne: on ne guérit pas parce qu’on se remémore. On se remémore parce qu’on guérit. Depuis qu’on a trouvé cette formule, la reproduction des symptoms n’est plus une question, mais seulement la reproduction des analystes; celle des patients est résolue” (“La direction” 624).

     

    4. See “Direction” Fink 252 (“La direction 627).

     

    5. Dany Nobus translates this passage thus: “neither on the side of nature, its splendour or evil, nor on the side of destiny, psychoanalysis does not make interpretation into a hermeneutics, a knowledge in no way illuminating or transformative” (176).

     

    6. In Nobus’s translation: “this is the way one has to expect interpretation to develop, it is the least abnormal of all, and it is precisely in the gap of this misunderstanding that something else will develop, that will have its fecundity” (160).

     

    7. The argument that history is real is of course associated with Slavoj Zizek. Space precludes a full discussion of his multifaceted approach to historicity, which argues simultaneous that the real is a meaningless kernel and that certain apocalyptic events come to stand in for the real. For my purposes, the first version–the historical real as unsymbolizable kernel–is most useful (see Sublime 119-20 and “Class” 110-11).

     

    Works Cited

     

    • André, Serge. What Does a Woman Want? Ed. Judith Feher Gurewich with Susan Fairfield. Trans. Susan Fairfield. New York: Other P, 1999.
    • Breuer, Josef, and Sigmund Freud. Studies on Hysteria. 1895. Trans. James Strachey. New York: Basic, 2000.
    • Butler, Judith, Ernesto Laclau, and Slavoj Zizek. Contingency, Hegemony, Universality: Contemporary Dialogues on the Left. New York: Verso, 2000.
    • Copjec, Joan. Read My Desire: Lacan against the Historicists. Cambridge: MIT P, 1994.
    • Dor, Joël. The Clinical Lacan. Ed. Judith Feher Gurewich and Susan Fairfield. Northvale, NJ: Jason Aronson, 1997.
    • Fairfield, Susan, Lynne Layton, and Carolyn Stack. Bringing the Plague: Toward a Postmodern Psychoanalysis. New York: The Other P, 2002.
    • Fink, Bruce. The Lacanian Subject: Between Language and Jouissance. Princeton: Princeton UP, 1995.
    • Freud, Sigmund. “Constructions in Analysis.” 1937. Standard 23: 255-69.
    • —. “Freud’s Psycho-Analytic Procedure.” 1904. Standard 7: 247-54.
    • —. “The Future Prospects of Psycho-Analytic Therapy.” 1910. Standard 11: 139-51.
    • —. The Interpretation of Dreams. 1900 (1899). Trans. James Strachey. New York: Bard, 1998.
    • —. “On Beginning the Treatment.” 1913. Standard 12: 121-44.
    • —. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Ed. and trans. James Strachey. 24 vols. London: Hogarth, 1953-1974.
    • —. Three Essays on the Theory of Sexuality. 1905. Standard 7: 123-243.
    • Harari, Roberto. Lacan’s Seminar on “Anxiety”: An Introduction. Trans. Jane C. Lamb-Ruiz. Ed. Rico Franses. New York: Other P, 2001.
    • Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca: Cornell UP, 1981.
    • Jones, Jason B. “Revisiting ‘Mr. Bennett’: Pleasure, Aversion, and the Social in The Old Wives’ Tale and Riceyman Steps.English Literature in Transition, 1880-1920 (ELT) 46.1 (Jan. 2003): 29-52.
    • —. “Sexuality’s Failure, the Birth of History.” Postmodern Culture 12.2 (January 2002). <http://www.iath.virginia.edu/pmc/text-only/issue.102/12.2.r_jones.txt>.
    • Lacan, Jacques. Autres écrits. Paris: Éditions du Seuil, 2001.
    • —. “La chose freudienne ou Sens du retour à Freud en psychanalyse.” 1955, 1956. Écrits 401-36.
    • —. “De la psychanalyse dans ses rapports avec la réalité.” Autres écrits 351-61.
    • —. “La direction de la cure et les principes de son pouvoir.” 1958, 1961. Écrits 585-646.
    • —. “The Direction of the Treatment and the Principles of Its Power.” 1958, 1961. Écrits. Trans. Fink 215-70.
    • —. “The Direction of the Treatment and the Principles of Its Power.” 1958, 1961. Écrits. Trans. Sheridan 226-80.
    • —. Écrits. Paris: Éditions du Seuil, 1966.
    • —. Écrits: A Selection. Trans. Bruce Fink. New York: Norton, 2002.
    • —. Écrits: A Selection. Trans. Alan Sheridan. New York: Norton, 1977.
    • —. “Fonction et champ de la parole et du langage en psychanalyse.” 1953, 1956. Écrits 237-322.
    • —. “The Freudian Thing, or the Meaning of the Return to Freud in Psychoanalysis.” 1955, 1956. Écrits. Trans. Fink 107-37.
    • —. “The Function and Field of Speech and Language in Psychoanalysis.” 1953, 1956. Écrits. Trans. Fink 31-106.
    • —. “The Instance of the Letter in the Unconscious, or Reason Since Freud.” 1957. Écrits Trans. Fink 138-69.
    • —. “L’instance de la lettre dans l’inconscient ou la raison depuis Freud.” 1957. Écrits 493-528.
    • —. “Introduction to the Names-of-the-Father Seminar.” 1963. Ed. Jacques-Alain Miller. Trans. Jeffrey Mehlman. Television 81-96.
    • —. “Réponses à des étudiants en philosophie.” 1966. Autres écrits 203-11.
    • —. “Responses to Students of Philosophy Concerning the Object of Psychoanalysis.” 1966. Trans. Jeffrey Mehlman. Television 107-14.
    • —. Le séminaire de Jacques Lacan, livre I: Les écrits techniques de Freud, 1953-1954. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1975.
    • —. Le séminaire de Jacques Lacan, livre II: Le moi dans la théorie de Freud et dans la technique de la psychanalyse, 1954-1955. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1978.
    • —. Le séminaire de Jacques Lacan, livre IV: La relation d’objet, 1956-1957. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1994.
    • —. Le séminaire de Jacques Lacan, livre VII: L’éthique de la psychanalyse, 1959-1960. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1986.
    • —. Le séminaire de Jacques Lacan, livre XI: Les quatre concepts fondamentaux de la psychanalyse, 1964. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1973.
    • —. Le séminaire de Jacques Lacan, livre XX: Encore, 1972-1973. Ed. Jacques-Alain Miller. Paris: Éditions du Seuil, 1975.
    • —. The Seminar of Jacques Lacan, Book I: Freud’s Papers on Technique, 1953-1954. Ed. Jacques-Alain Miller. Trans. John Forrester. New York: Norton, 1988.
    • —. The Seminar of Jacques Lacan, Book II: The Ego in Freud’s Theory and in the Technique of Psychoanalysis, 1955-1956. Ed. Jacques-Alain Miller. Trans. Sylvana Tomaselli. New York: Norton, 1988.
    • —. The Seminar of Jacques Lacan, Book VII: The Ethics of Psychoanalysis, 1959-1960. Ed. Jacques-Alain Miller. Trans. Dennis Porter. New York: Norton, 1992.
    • —. The Seminar of Jacques Lacan, Book XI: The Four Fundamental Concepts of Psychoanalysis, 1964. Ed. Jacques-Alain Miller. Trans. Alan Sheridan. New York: Norton, 1977, 1998.
    • —. The Seminar of Jacques Lacan, Book XX: Encore: On Feminine Sexuality, the Limits of Love and Knowledge, 1972-1973. Ed. Jacques-Alain Miller. Trans. Bruce Fink. New York: Norton, 1998.
    • —. “Télévision.” 1973. Autres écrits. 509-45.
    • —. “Television.” 1973. Television. Trans. Denis Hollier, Rosalind Krauss, and Annette Michelson. 3-46.
    • —. Television: A Challenge to the Psychoanalytic Establishment. Ed. Joan Copjec. New York: Norton, 1990.
    • Laplanche, Jean. Life and Death in Psychoanalysis. 1970. Trans. Jeffrey Mehlman. Baltimore: Johns Hopkins UP, 1976.
    • Nobus, Dany. Jacques Lacan and the Freudian Practice of Psychoanalysis. London: Routledge, 2000.
    • Santner, Eric L. On the Psychotheology of Everyday Life: Reflections on Freud and Rosenzweig. Chicago: U of Chicago P, 2001.
    • Shepherdson, Charles. Vital Signs: Nature, Culture, Psychoanalysis. New York: Routledge, 2000.
    • Zizek, Slavoj. “Class Struggle or Postmodernism? Yes, Please!” Butler, Laclau, and Zizek 90-135.
    • —. The Sublime Object of Ideology. New York: Verso, 1989.

     

  • The Human and his Spectacular Autumn, or, Informatics after Philosophy

    Anustup Basu

    Department of English
    University of Pittsburgh
    anbst42@pitt.edu

     

    Toward the beginning of Gabriel García Márquez’s novel El Otono del Patriarca, the protagonist, who is the dictator of an imaginary Latin American republic, is seen to witness his own funeral. That is, he sees himself being buried de facto, in terms of an ordering of words (“the king is dead”) and visibilities (the public rituals of the royal funeral) that creates sovereign publicity and power. However, by a profound trick of fate, it so happens that the physical body of the king that graces this occasion does not belong to the protagonist himself–it is of his double Patricio Aragonés, who has recently been killed by a poisoned dart. The corpse of the official imposter is interred with full state honors. When the dictator peeks out of his half-ajar bedroom door to watch the ceremony taking place in the audience hall of the presidential palace, he is offered a glimpse of what may be called the televisual in its most sublime form. By virtue of this unusual situation, he temporarily assumes a godly, panoptic perspective that he will never achieve again in his career.

     

    I am using the concept of the televisual in its basic sense, that of projection and reception of visibilities across distances–in other words, as a primary cognitive task of the human who wants to read the world. But we face a profound question in trying to see matters from the dictator’s “televisual” point of view: what exactly must be the nature of “distance” in this case, when the “self” is paradoxically made to see the “self” being buried afar? It is the mysterious and extraordinary body of the sovereign himself that needs to be unraveled before one can even begin entering that ontological conundrum. We can say that “distance” here is manifested first of all by a death-induced split between the phenomenal and the epistemo-constitutive poles of the king’s body; the mortal carcass of the sovereign is thereby detached from the abstract stately form endowed with the iron deathmask of power. The patriarch (we will call him by this name to distinguish him as the not-named son of Bendición Alvarado who was, till now, holding the post of the dictator) feels alarmed and powerless because he, for the time being, is the bearer of none of the aforementioned bodies. Patricio Aragonés hijacks the first of the two to be buried with him, while the mask and the regalia, which ensure that the king lives long after the king is dead, are left intact but vacant. The patriarch realizes–even as contending forces belonging to the church, the cabinet, and the military get ready to compete for the throne–that the paraphernalia of power make an inhuman terminal that is presently empty, but always with a life of its own. This distinction between the two bodies of the sovereign is a fundamental one that Marx makes between the “mediocre and grotesque” protagonist and the hero’s part he assumes in the farce in Eighteenth Brumaire of Louis Bonaparte (144). In our present case, Patricio Aragonés the double, by dying and being buried spectacularly, has, for all practical purposes, pushed the “real person” out of his earthly mantle. This is established in the “audience room” as an event in the public domain of knowledge through a ceremonial bringing together of signs, affects, and things: there is the royal corpse with its “chest armored with military decorations, the showy dress uniform with the ten pips of general of the universe, […] the king-of-spades saber he never used, the patent leather boots with two gold spurs” (García Márquez 28), as well as the people brought to bear witness–the old man who gives the Masonic salute, the one who kisses the ring, the schoolgirl who lays a flower on him, or the fishwife who embraces his body and sobs. And then there are the sounds–the sudden cannon shots from the fortress on the harbor and the rolling of the cathedral bells.

     

    The production of the corpse as spectacle in “direct telecast” causes much consternation in the mind of the patriarch. After all,

     

    the vast paraphernalia of power and the lugubrious martial glories reduced to his human size of a fagot lying in state, God damn it, that can't be me, he said to himself in a fury it's not right, God damn it, he said to himself, contemplating the procession that was parading around his corpse, and for an instant he forgot the murky reasons for the farce and felt raped and diminished by the inclemency of death toward the majesty of power [...]. (García Márquez 28)

     

    The moment of panic is hence that in which the patriarch realizes that he is not the powerful author of the scene being realized below with the dictator at the center. He discovers that he is not controlling the perceptual universe around him; it is rather because of the very facticity of his “death” that he is able momentarily to occupy the omniscient, inhuman point of view that is at the heart of the visual architecture of power itself. It is clearly a publicity stunt gotten out of “hand,” a situation in which the image no longer represents an essence of the self, but has become a perverse automaton. From the point of view of the patriarch, the non-temporality of such a perception is out of joint with history as autobiography, simply because it cannot fall within the order of living consciousness and the finite human’s being in the world. Only when the patriarch becomes a ghost and transcends the eschatological limitations of the human is the theatre of the rotten state–with its body of secrets, constellation of forces, subjects, interests, conflicts, and corrosive intrigues–revealed to him. This is thus a magical truth that is produced, an otherworldly knowledge that only Hamlet’s father and those he haunts can possess–a “total” and inhuman picture of the world fomented by the spirit.

     

    Hence, what seems “unreal” is only so from the vantage point of the individual reduced to his own ghost. It becomes clear that the erstwhile dictator can subsequently “come back” from the dead not by reentering the stage as the “real” persona and thereby proving the previous spectacle to be a false one, but by casting himself as “double of the double,” the next one in a long line of imposters–indeed, by way of an all new coup d’état that inserts his face into the mask left behind by Patricio Aragonés. The return is possible not by disrupting the “direct telecast” and revealing it to be illusory, but by violently reinstating its realness in letting oneself be claimed by it completely. Hence, from the phenomenological point of view of the average spectator and as per the uninterrupted flow of the direct telecast, it would be such that it is never Patricio Aragonés who is assassinated, but the patriarch himself who goes into and returns from the dead. And that is exactly how it happens subsequently: it is the “unburied” president who comes back triumphantly, chasing away the bishop primate, Ambassador Schontner, and other conspirators who have been exposed by a televisuality that only a ghost or a god could have witnessed. If the mask of the “dictator” (as opposed to the faces of the patriarch or Aragonés) is a special instance of the televisual, it is because it preserves an inorganic continuity for itself, independent of all those incessant ebbs and flows of doublings. It is assumed by individuals who slide into it or slip out of it without being able to make it into an expressive tool to be used solely for their personal ends. The mask as televisual therefore becomes an aspect of power itself, rather than a reflection, image, or possession of powerful men who may be mediocre or grotesque, or patriarchs with herniated testicles underneath their uniforms. But then, the question becomes, what can be the nature of such a mask? In what sense is it always already televisual, with or without the presence of television as a technological reality? What we will be trying to examine by starting from the premise of the televisual mask is a modality of power that organizes distances, bodies, movements, statements, and visibilities in a certain manner. In modern telematic societies, this process of publicity becomes far more complex.

     

    Fascism and the Dictatorship of the “Other”

     

    We need to pause for a minute to dwell on the existential predicament of the patriarch and to “world” it comically, even philosophically, in the light of our occasion. It would be pertinent to recall Heidegger’s concern with the lure of modern technology that causes Dasein to lose itself through a massified familiarity with the world. Mass technology in that sense, becomes a

     

    Being-with-one-another [that] dissolves one's own Dasein completely into the kind of Being of "the Others," in such a way, indeed, that the Others, as distinguishable and explicit, vanish more and more. In this inconspicuousness and unascertainability, the real dictatorship of the "they" is unfolded. (164)

     

    As a freakish and exceptional case, the status of a “super-spectator” can be ascribed to the patriarch since for him the extinguishing of the self and the revelation of the being of dictator as being of “others” is staged figurallyin front of him. He is thus able to descend from the skies and locate the dead “self” as a “human size of a fagot” in the landscape of the other. A more illustrative example, one that involves “real” televisual technology rather than the metaphysical situation we have been discussing so far, comes later in the novel. The old, weak, and dying patriarch once again witnesses the dictator as the televisual other. This time, as his body grows more and more decrepit, his wits dull, and his memories fade, the image on the screen grows younger:

     

    He recognized his own amplified voice in the quarters of the presidential guard and he looked in through the half-open window and saw a group of officers dozing in the smoke-filled room opposite the sad glow of the television screen and there he was on the screen thinner and trimmer, [...] sitting in the office where he was to die with the coat of arms of the nation behind him and three pairs of gold eyeglasses on the desk, and he was reciting from memory an analysis of the nation's finances with the words of a sage that he never would have dared repeat, damn it, it was a more upsetting sight than that of his dead body among the flowers because now he was seeing himself alive and listening to himself speak with his own voice, [...] I who had never had been able to bear the embarrassment of appearing on a balcony and had never overcome the shyness about speaking in public [...]. (233)

     

    Many more years later, after ruling the land for over a hundred years, when the patriarch dies inside the palace, people watching from a forbidding distance come to know of the passing away only when the regime that endows signs with meaning and valence–the architectural compact of words and things in a given situation of power–throws up a wondrous spectacle, one which crosses the thresholds of human presence, agency, and judgment, and passes onto a realm of the absurd only an animal can dare enter: a wandering cow appears on the balcony of the presidential palace.

     

    We are, in a general way, already talking about fascism and the strange existential predicament of the individual grappling with it. This, despite the fact that the individual in this case may either be the Fuhrer himself, or the enlightened philosopher trying to understand this modality of power through a meaningful reading of the world. Both García Márquez’s patriarch, who thinks he “holds” power and the primordial Heideggerian thinker–whose inventory of tasks include avoiding this or that ensnarement of being as subject, staying away from the herd, and thinking about Being–are seen to be already inducted into an overall mass-technological production of “they-selves.” In bringing these two figures together in a constellation of thought, we are trying to understand a historical turn in Western industrial societies when the autumn of the patriarch (who may or may not have an enlightened head on his shoulders, but who always “holds” the scepter of power with a despotic sway) also proves to be the twilight of the disinterested philosopher. These figures “represent” two important aspects of the historical agency of the Western subject of enlightenment. As we know, Kantian modernity was founded on these two agents and their respective executive-juridical and moral-legislative authorities as caretakers of the political state and the ethical one.1 It was this secular compact between power and knowledge in the body politic that created the epistemological figure of the European human who presumed to make history exactly the way he liked it. While the Heideggerian project was to announce the end of that philosophy of progress and deconstruct the transcendental subject that it proposed as the free-willed agent of history, it also entailed an atavistic and agrarian denial of industrial modernity.2

     

    I want to draw out several points here. The first concerns the relation between distance and power. The patriarch realizes that the mask of power is not an aspect naturalized to him, by the dint of his own activity. The televisual visage of the dictator–which is made omnipotent through the technological erasure of distance–is that which powerfully animates his human face, and not the other way round. In “dying” and acquiring the panoptic vision, what the patriarch sees is much more than various subjects breaking their conspiracies of silence and registering support for or antagonism against him. Over and above that, he is disturbed in hearing that great monologue of a language instrumentalized by the state–power speaking to itself, as Heidegger puts it–that reduces his faggot self, friends, and foes, to a vast herd of “they selves.” The “Master” of the land understands that even he, once pressed into the production of information values in terms of the televisual, is not free from what Walter Benjamin called the “growing proletarianization of modern man and the increasing formation of masses” (“Work of Art” 234). The patriarch is therefore alienated from the dictator as televised icon only by a lesser degree than the pauper, in terms of a graduated and differential hierarchy of distance and accessibility.

     

    When we transpose the problem from the landscape of “primitive accumulation” in Garcia Márquez’s novel to modern metropolitan societies, the situation becomes more dense and intricate in its alignment of forces. If modern technology is that which massifies and disempowers the human subject who had formerly killed god and taken his place, it is equally important to understand that this fateful loss of agency shared by the patriarch and the beggar alike can be defined only in terms of formalistic positionalities of power, as in a chess game, unless it is related to production and the laboring process. It would be a mistake to account for lines of force, energies, visibilities, words, and things that constitute flexible and dynamic diagrams of power purely in terms of the self-conscious human and his conspiratorial or benevolent intentionalities. But the point is also to understand that such diagrams certainly have something to do with bodies of “interest,” congealment of some desires and foreclosure of others, density and regularity of some ideology statements and rarefactions of others, and uneven circuits of social rewards that gather and group humans together in the registers of class, caste, race, religion, gender, or nation. Also, thinking the televisual in terms of such complex forms of metropolitan power has to involve pondering over technologies of the social that de-essentialize classic self-other categories, making them into flexible and mobile Benettonesque visages that can transform peoples into multiculturalist populations, and ways of life into marketable lifestyles.3 I am speaking, for instance, of that form of televisuality that can generate the most celebratory image of “in-corporation” in the racial history of the United States, one that can spectacularly compound the figure of the prince with that of the pauper–in the form of William Jefferson Clinton as the first American “black president.”

     

    Secondly, I would like to relate the Heideggerian anxiety about an increasing erosion of distance between the earth and the sky not to the obsolescence of being in the world, but to a question that seems to have resonated in various conceptual forms in the works of a long line of Western thinkers, from Antonio Gramsci to Gilles Deleuze: how was it possible that modern technologies of mechanical reproduction and electrification of public communication should produce European fascism as one of its first, grotesque world historical spectacles? The paradox, as it is expressed in Benjamin’s “Work of Art,” can be outlined as follows: from the perspective of the enlightenment humanist one could say that mechanized mass culture in the twentieth century was supposed to “de-auratize” the work of art and make it more democratically available; but what Benjamin notices in his time is a disturbing incursion of aesthetics into politics, rather than the politicization of art that could have been possible. This, for him, constitutes a “violation” of the technologies of mass culture, by which the “Fuhrer cult” produces its ritual values of aesthecizing war and destruction (234-35). Benjamin formulates the problem as belonging to a society not yet “mature” enough to “incorporate technology as its organ” (235, emphasis added).

     

    Thirdly, I would note here that the problem extends to the act of communication itself as conceptualized in hallowed liberal democratic categories; that is, in terms of he who speaks and he who listens, various social, moral, and juridical contracts, and consequent rights, freedoms, and the choices that are said to facilitate rational exchanges and consensus. During the publicity drive toward building up domestic and international support for the 2003 war on Iraq, no functionary of the United States government (except U.S. Vice President Dick Cheney) actually made a public statement directly suggesting that Saddam Hussain had an active part to play in the devastation of 11 September 2001. Nevertheless, it was subsequently noted in the opinion polls that an alarming number of American people believed that the Iraqi despot was involved in the conspiracy and its execution. Hence the two propositions–Saddam the evil one, and 9/11, the horrible crime–seem to be associated in a demographic intelligence without having any narrative obligation to each other; that is, without being part of the same “story.” The outcome, it would seem, was achieved by a mathematical chain of chance, by which two disparate postulates, in being publicized with adequate proximity, frequency, and density, gravitate toward each other in an inhuman plane of massified thought. They, in other words, are bits and bytes of newspeak which come to share what I will call an “informatic” affinity with each other, without being organically enjoined by constitutive knowledge.

     

    The formation of the latter entity is of course something we are prone to consider a primary task of the philosophical human subject, who is also the modern citizen with rights and responsibilities. Attaining knowledge by reading the world is how we are supposed to self-consciously exercise reason, form views, and partake in an enlightened project of democratic consensus and legislation. Hence, insofar as these pious protocols of liberal politics are concerned, the presence of this mass prejudice4 poses some disconcerting questions: How does one account for the fact that what is, at face value, the most sophisticated technological assemblage for worldly communication and dissemination of “truth,” should sublimate what, in Kantian terms, must be called an unscientific belief or dogma? To be mediatized literally means to lose one’s sovereign rights. Hence, what happens to the idea of government by the people and for the people if the “false” is produced as a third relation which is not the synthetic union of two ideas in the conscious mind of the citizen or in the general intellect of the organic community, but is a statistical coming together of variables? How is the cynical intelligence of power that calls this sublimation into being to be configured and what consequences does it have for human politics? Lastly, this manufacture of the false as “informatic” perception requires money, in order not only to bring the variables Saddam Hussain and 9/11 into a state of associative frequency, but also to minimize and regulate the appearance of other variables from appearing in the scenario. For instance, in this case, to reduce, for the time being, the frequency of the proper name Osama. Hence, the obvious question–what is the role of money in a purportedly postmodern, increasingly technologized sphere of communicative action? What does one do when Hitler’s lie proliferates without Hitler the liar? In a way, this anxious query seems to yet again resonate the old Pascalian question posed at the very gestative period of a godless modern world: how does one protect the interests of abstract justice from being outfunded and dominated by real, material interests of power in the world?

     

    Hitler as Information

     

    The title of this subsection is clearly paradoxical. We need to create a clearing in our inherited discursive domains in order to broach this figure of thought in a satisfactory manner. Let us briefly return to the concept metaphor of organicity that Benjamin invokes in his diagnosis of a technologization of mass society in his times.5 The statement comes under considerable duress and loses its positivistic, idealistic charge if it is located in the overall context of Benjamin’s oeuvre. The historical landscape of politics, aesthetics, and culture Benjamin draws up in his major works–pertaining to Baudelaire’s Paris, the German trauerspiel, the works of Kafka and Brecht, or a possible philosophy of history–is indeed one of ruins. It is not spirited by an otherworldly and inevitable Hegelian impulse of progress–as an ongoing chronicle of constitution already foretold. Society in that sense is not a vegetative mass that builds itself relentlessly by subsuming the fall of heroes and other tragedies; it is perpetually giving rise to and destroying institutions that are at once pillars of civilization and of barbarity. The social as such is always fraught with anarchic fragmentations, discontinuities, and with the event as unforeseen catastrophe. There is indeed an inhuman aspect about the very process of figuration in Benjamin’s thinking–in the helpless movement of the angel of history blind to the future and caught in tempestuous circumstances, in the welter of shock and distraction (rather than contemplative stances of the human) of moving traffic in Paris and of the moving image, or in the past that indeterminately strives to turn toward a rising sun in the historical sky like a flower induced by a secret heliotropism. These concept metaphors of supra-normalcy, machinism, mysticism, and a magical naturalism that abound in Benjamin’s work, are features that can be located in a general temper of disenchantment in Western thought between the great wars–one that pertained to a rigorous questioning, after Husserl, of a unified phenomenology of the subject, of closed scientifico-propositional systems of logic, and of a Hegelian positivistic philosophy of historical progress. Benjamin’s work, in that sense, can be placed alongside Marcuse’s return to Nietzsche and Freud, or Adorno and Horkheimer’s analysis of the culture industry and the instrumentalization of reason. The logic of this grouping lies in proposing not a common methodological home for these thinkers, but a common historical understanding: namely, that fascisms in the world, more than ever, render philosophy absolutely homeless and in dire poverty. The greatness of these thinkers lay in the fact that in their examination of mediatization and reification, degradation of aesthetic and intellectual culture, and a corrosive Weberian rationalization of society into bureaucracies and markets, they chose to be in a perpetual state of critical exile, without seeking assuring, administered shelters of the subject, unity, and law.

     

    Gilles Deleuze has rearticulated Benjamin’s argument about the work of art and technologies of mass reproduction by transposing it from its organicist parabasis into a subhuman, machinic, and molecular-pragmatic one. In invoking Deleuze in conjunction with Benjamin, I am not trying to harness them, with their obvious methodological differences, into a synthetic metacommentary.6 Neither is my objective that of proposing a dynastic continuity that could eclectically house them in a peaceful philosophical tradition of the West. Indeed, there can be no bridge of “truth” between them. The purpose on the other hand, is perhaps to do violence to pieties of propositional logic and bring the two discourses together in a constellation, or a catachrestic assemblage. In other words, to read them historically as powerful theoretical fictions that disrupt habits of the commonsensical–as instances of thinking which are, at once, political and taking place in a moment of danger. Such a critical but disjunctive bringing together of Benjamin and Deleuze would recognize and take into consideration the shifting epistemic configurations of knowledge and power in the world, locating the former in a scenario where the great edifices of Newtonian geometry, the moral subject of Kant and Hegel, and the Darwinian positivisms of the previous two centuries are in a state of ruinous dispersal, while placing the latter in a universe of Heisenbergian uncertainties.

     

    According to Deleuze, the discourses of fascism, as the dominant myth of our time, establish themselves by an imperial-linguistic takeover of a whole socius of expressive potentialities. The latter, for him, constitutes an immanent field of particle signs, of matters, perceptions, and memories that become attributes of consciousness models (like in the phenomenology of the subject) and deictic enunciations (like that of the Nazi mythology) only on a secondary level. In other words, the relationship between a diffuse semiotics and a molar semiology is always one where the latter is a part of the former, and not the other way round (for instance, it is not an essential, organic act of national narration that imperially and categorically imparts meaning to all signs). The relationship between the two is always that of either catastrophic balance or antagonistic movement. That is not to say that we have languages without language systems, but that language systems exist only in relation to the expressive nonlinguistic materials that they continually transform.7 What is also important here is that eruptive singularities and anarchy of signs and expressions always harbor potentials to transvaluate and alter normalizing enunciations of the subject or grand metanarratives of history. Without sharing Deleuze’s occasional impulses toward a transcendental empiricism or an acosmic vitalism, one can find in him a consistent effort toward thinking the battleground of language in terms of perpetually altering disjunctive assemblages, rather than in those of synthetic, organicist propositions pertaining to culture, nation, or narration. The “maturity” of society, as per a Deleuzian critique, can be understood to be a perpetually dangling holy carrot of Western-style modernity that promises a moment of synthetic arrival–an ideal state of perpetual peace when the organs of culture are no longer abused, but incorporated into the being and destiny of the national, or even the world spirit as a whole.

     

    According to liberal historicist imaginations that take social maturity all too seriously, the basic fault of the Nazi party would simply lie in the fact that it proposed an “inauthentic” founding myth of the state, in the form of the psychobiography of the white Aryan male. The root of the error thus was only in the content, in Adolf’s perversion and lies, and not in the technological form of the proposition or its social relations of production. The money-technology assemblage of propaganda, as such, is therefore taken to be value-neutral–it is only the voluntarism of the human that decides its deployment between truth and falsehood, between good and evil. It is the same historicism that proposes that the present global dominance of neo-liberalism has at last created the post-historical moment of a finally naturalized episteme and a union devoutly desired between the earth and the sky.8 It is, in other words, a historicism that announces its own dazzling and spectacular death, and in the process tries to foreclose historical thinking in toto. As a result, unlike the inauthentic rampage of the Nazi pretender’s war machine, the founding violence of a neo-liberal, transnational sovereignty in the world, from Rwanda, to the Middle East, to the Phillipines, is seen by such an ideology to have a totalizing legitimacy drawn from the jealous and vituperative religiosity of a Market Being. It is in the auspices of such a naturalized episteme, when state language becomes global to a degree unprecedented in history, that the category “information” assumes a special “postmodern” status, in contrast to traditional and modern ways of reading the world through revelation, grace, discovery, or knowledge.

     

    Deleuze on the other hand leads us toward a machinic understanding of fascism, rather than one that diagnoses the body politic in terms of sickness and health. In such a conception, Adolf does not feature as the madman who abuses technology, but is himself a grotesque, spectacular production of technologism itself. As we were saying, there are different forms of life and expressive energies in any situation of the historical which are capable of generating multiple instances of thought, imaginative actions, creative impulses and wills to art. Fascism destroys such pre-signifying and prelinguistic energies of the world, extinguishes pluralities, and replaces them with a monologue of power that saturates space with, and only with, the immanent will of the dictator. This is the moment in which the language system sponsored by the sovereign is at its most violent; it seeks to efface historical memory by denying its constitutive or legislative relation with non-linguistic energies of life and the socius; it casts itself and its monologous doctrines as absolute and natural. For Deleuze, this is a psychomechanical production of social reality, more than an organicity of community torn asunder by human alienation and the incursion of reactionary ideologies, false consciousnesses, and agents. Not that the latter do not exist, or are unimportant components in this world picture, but that this technology of power cannot be seen simply as a value-free arrangement of tools misused by evil ones. The figure of the dictator is therefore not that of the aberrant individual madman, but a psychological automaton that becomes insidiously present in all, in the technology of massification itself. The images and objects that mass hallucination, somnambulism, and trance produce are attributes of this immanent will to power.9 The hypnotic, fascinating drive of fascism is seen paradoxically to operate below the radar of a moral and voluntaristic consciousness of the human subject; fascism becomes a political reality when knowledge-based exchanges between entities of intelligence give way to a biotechnologism of informatics. The elaboration of the latter term requires caution and patience.

     

    In Benjamin, we can see this being articulated in terms of a situation in which forms of storytelling (which are at once educative and exemplary to the citizen for his cosmopolitan education, and also amenable to his freedom of critical interpretation and judgment) are replaced by a new form of communication that he calls information. The first characteristic of information is its erasure of distance–it is its near-at-hand-ness that gets information a “readiest hearing” and makes it appear “understandable in itself” (“Storyteller” 88). The dissemination and reception of information are thus predicated on the production of the event as “local,” as “already being shot through with explanation.” For the conscious subject, this also entails the disappearance of a temporal interval required for movement within the faculties from cognition to understanding and then finally to knowledge. Information is that which is accompanied by the entropic violence brought about by a supercession of the commonplace, and a reduction of language into clichés. It is therefore in the ruins of a constitutive or legislative language that the instantaneous circuit of the commonsensical comes into being.

     

    Thinking, knowledge, or communicability (which is different from this or that technologism of communication) become foreclosed in such an order of power because one cannot really say anything that the social habit does not designate as already thought of and prejudged by the dictator. The publicity of fascism is one where friend and foe alike are seen to be engaged in tauto-talk, repeating what the dictator has already said or warned about. Benjamin calls this an eclipse of the order of cosmological mystery and secular miracles that the European humanist sciences of self and nature and an enlightened novelization of the arts sought to delineate and solve. There can be neither secrecy in fascism, nor anything unknown. Conspiracies, in that sense, can only be manifestations of what is already foretold and waiting to be confessed. The SS (or sometimes, the CIA) can of course procure and store “classified information,” but it can never say anything that the Fuhrer does not know better. Information therefore becomes an incessant and emphatic localization of the global will of the dictator; in its seriality and movement, it can only keep repeating, illustrating, and reporting the self-evident truth of the dictatorial monologue.10 For Deleuze, it is in this sense of the immanent dictatorial will that Hitler becomes information itself. Also, it is precisely because of this that one cannot wage a battle against Hitlerism by embarking on a battle of truth and falsehood without questioning, but taking for granted, the very parabasis of information and its social relations of production. Hence, “No information, whatever it might be, is sufficient to defeat Hitler” (Cinema 2 269).

     

    Like the patriarch in Garcia Márquez’s novel whose face was animated by the dictator’s mask, Adolf the Aryan anti-Semite does not exhaust the figure of Hitler. Informatics has not ceased after the death of Adolf and his propaganda machine, or the passing away of the particular discourse of the Adolphic oracle and its immediate historical context. As a figural diagram, as a special shorthand for a particular technology of power, Hitler subsequently must have only become stronger–that is, if indeed we are still to account for him as an immanent will to information that invests modern societies. But how can one conceptualize him without the formalist baggage of a historicist understanding of Hitler? In other words, without the grotesque, arborescent institutions of repression, like the secret police or the concentration camps, that constitute an armada of affects frequently used to domesticate the concept of fascism to Europe between the wars? If one were to put the question differently, that is, occasion it in terms of a present global order of neo-liberalism, marked by American-style individualism, consumer choices, democracy, and free markets that supposedly come to us after the agonistic struggles of liberation in the modern era are already settled, how can one enfigure the dead and buried tyrant in our midst in such an “untimely” manner? How is Hitler possible in a liberal constitution?

     

    Perhaps one has to begin by not trying to enfigure Hitler in the contours of the human–as the irrational apex of the suicidal state, or the pathological Goebbelsian liar who perverted the tools of human communication into mass propaganda machines. Hitler in that sense, would not simply be the mediocre and grotesque madman who uses or abuses technology (apart from that, he of course is long dead and buried beneath the dazzling obscurity of a sanitized spectacle–a museum piece of mass culture). Rather, in his latest neo-liberal incarnation, he would still be a proper name for technology itself, but not as the figure of the psychopathic individual who simply imprisons the human in enclosed spaces like the death camp or exercises a Faustian domination over him through arborescent structures like the Nazi war/propaganda machine. The “postmodern” technology of information that we are talking about qua Hitler is neither external nor internal to the human individual; it is one that is a part of the latter’s self-making as well as that of the bio-anthropological environment he lives in. Hitler enters us through a socialization of life itself, through a technology of habituation that involves our willingness to be informed. It is a diffuse modality of power that perpetually communicates between the inside and the outside, erasing distance between them. It is in this context that Deleuze’s statement, that there is a Hitler inside us, modern abjects of capital, becomes particularly significant. Hitler, as per this formulation, becomes an immanent form of sovereignty that is bio-politically present, percolating individuals and communities in an osmotic manner. Hitler as information, is not the addressor who speaks to us while we listen. It was only Adolf who did that in the old days, as the anachronistic caricature of the sovereign who had not yet had his head cut off, but had simply “lost it.” Information on the other hand, is a metropolitan habit of instant signification; it is an administered social automaton that does not presume a contract between the speaker and the hearer. Since it has no point of origin other than the person informed, the instance of information is thus always one where the self listens to the “they-self,” to the point where the two become indistinguishable and unavailable as separate instances of an agonistic self-other psychodrama of the integrated Western subject. This, however, needs to be understood not in terms of the patriarch’s crisis, or the existentialist anxieties of the Heideggerian philosopher, but in terms of labor and production: information as value has no source other than the person informed because it is he who labors to produce social meaning. It is only then that we can understand technology according to its logic of production, rather than solely as an externalized “other”–a Frankensteinian monster seen from the point of view of the individual. But the obvious query here would be, if information has something to do with capital, does that make it essentially fascistic? More specifically, in a “postmodern age” witnessing the obsolescence of modern cultural institutions, when Hitler is to be understood in terms of a diffuse, horizontal presence rather than as a vertical axiomatic in human form, the question to ask, perhaps, is who or what is the dictator?

     

    Theses on Informatics

     

    It is impossible to talk about information from the beginning, since it is always already on its way, unlike the story that originates somewhere and ends somewhere. I thus choose to assemble a scattered inventory of postulates.

     

    Thesis 1: First, let me attempt to clarify, as best as possible, some categories that have been anarchically intersecting with each other in our discussion. By the term televisuality (as with telephonicity), I mean a simple mechanism of projecting and receiving visibilities and sounds across distances. It is in this basic form that the telescope or the postcard is televisual. The invention of the former was one of the signal events that created the human as a global postulate; indeed, the European anthropos was a sublime creation that emerged from the Pascalian horror at seeing an interstellar space without the face of the Holy Ghost hovering over the martins. The disenchanted birth of the self was coincident with the twilight of the starry sky which was a map of the epic world; it was, in other words, a genesis of a novel and secular cosmology itself, one that could be understood through cognitive functions of the transcendental human subject rather than through a patient wait for revelatory happenings. Televisuality in this abstract sense, has something to do with the primary epistemological tasks of the modern man–that of reading his godless, degraded universe in terms of a world historical totality. It is to be located in the very interstice between the home and the world that multiple strands of Western philosophy after the Greeks have tried to reconcile in different ways. For our immediate project, it is important to understand is that all conceptual forms of the televisual are not informatic, just as many incarnations of the televisual (the Internet or smart bombs for instance) may not have anything to do with this or that institution of television. We need to distinguish televisuality as techne, art, science, or fabrication, from the televisuality that is claimed by informatics.

     

    What we are interested in is the moment in which televisuality becomes technologistic in a specific sense, as part of an overall social command of capital. Here, in using the proper name “technology,” we refer to a form of production (as distinguished from making or fabrication as potentia) that is, in toto, underwritten by the logic of capital alone. This technology of televisuality comes with an ideological baggage of “progress,” with a faith of technologism that is part of a global imperative of profit. Questioning technology as such is not to propose a primitivistic, Luddite-romantic return to an unmediated state of nature, but to understand historically, in terms of imminent potentialities of the world, whether one cannot think of forms of life and forms of making that are different. In terms of culture and politics, this also pertains to a basic distinction between a globality of exchanges between societies and a particular managerial-financial project of globalization. Hence, in suggesting that we need to make a distinction between televisuality in a simple form and a technologism of informatics qua capital, I am insisting on a pure, conceptual force of difference, as Marx does in making a distinction between use value and exchange value. That is, I am not positing an originary moment when the televisual was a pure event of the primitive, yet to be capitalized by informatics. It would be instructive to recall here how Marx designates primitive accumulation as a determinate extraction from the historicity of capital formation itself:

     

    We have seen how money is transformed into capital; how surplus-value is made through capital, and how more capital is made from surplus-value. But the accumulation of capital presupposes surplus-value; surplus-value presupposes capitalist production; capitalist production presupposes the availability of considerable masses of capital and labor power in the hands of commodity producers. The whole movement, therefore, seems to turn around in a never-ending circle, which we can only get out of by assuming a "primitive" accumulation [...]; an accumulation which is not the result of the capitalist mode of production but its point of departure.This primitive accumulation plays approximately the same role in political economy as original sin does in theology. Adam bit the apple, and thereupon sin fell on the human race. (Capital 873)

     

    Hence, to talk about the televisual as a nascent, prelapsarian moment in gross empirico-historicist terms is to subscribe to the same onto-theology of capitalism. That is, in terms of a secular narrative of progress, before informatics there could have been the televisual only as a magical revelatory task of God. After the fall, the history of the human thereby becomes a gradual but irresistible coming into being of informatics qua capital, starting with the fire and the wheel. The original “sin” of capital and the technological omnipresence of informatics would be seen to constitute the only mode of being for a species cursed with the labor of Adam. As per this logic, “after” information there can be only apocalypse and death; pure televisuality, without capitalist social relations, can only be of the epic order of gods and monsters. It is precisely to demystify informatics as a science of Power qua capital (potestas in the Spinozist sense) that one needs to understand televisuality as power (potentia) that is productive activity pertaining to labor.11

     

    Thesis 2: Informatics is the technology which capitalizes and translates televisuality into value as information. It is the circulation of different kinds of words and images across global distances, in the least amount of time possible. Moreover, the mechanism of value in such a turnover is computed according to a digital architecture of temporality, where time is money. Informatics therefore creates value not in terms of veracity of knowledge (which is settled through rational debates between experts), but in terms of abridgement of reporting time. Hence, it does not rely upon modern cognitive-representational prejudices (the camera does not lie), but a machinic coda of efficiency (the camera has had no time to lie). This is where informatics differs from what can be called news in an older sense. The latter can be accounted for as a secular verification of rumor, a process of expert scientific recoding of the world, absolving it of miracles and magic. Informatics on the other hand is a pure force of circulating commonsense, in which the temporal logic of the bomb and that of the image coincide. Hence, in this realm of massified common sense, the specular pleasure of seeing the bomb drop is accompanied by the casting of the legitimacy of the bombing as an ongoing, “already explained” clearing for the immanent entry of the post-historical. Like capital, informatics tends toward the abolishment of circulation time; it is, in fact, capital itself (and not a reflection of it) precisely because it acquires a “life of its own” by the virtue of being value in serial flow.12 Marx makes this important distinction between money as simple medium of exchange, as in Aristotelian economics, and money that becomes capital precisely because it is in circulation. Put simply, the military-industrial assemblage that makes the moment of the bomb coincide with that of the image does not belong to an older paradigm in which societies at war exchanged violence through a terminal and fatalistic deployment of weapons and resources. Rather, it is one in which capital never ceases to flow–the bomb as money is immediately translated into image as money. In a figural sense, that is how we can understand “embeddedness”–as that which tends to informationize the temporal and spatial distance between making war and making news.

     

    The relation between informatics and capital that I am proposing here is not that of a superstructural aspect of public culture reflecting the machinations of the economic base. In the general capitalistic production of social life itself, informatics does not mirror realities, but produces them. Informatics as such, is thus possible when money as capital increasingly becomes immediately socialized value, without going through formal mediating circuits of society, law, and culture. Apart from Antonio Negri’s thesis in Marx Beyond Marx, here I of course have Guy Debord’s observation in mind–that spectacle is capital accumulated to the point of image.13 Hence, in speaking of an immanent flow of capital qua informatics, I am not suggesting that money is translated into image-commodity on the screen and subsequently returned to its original form as televisual revenue. Rather, the movement is that of money through and throughout. In the Grundrisse, Marx makes a very important distinction between money and coin that may be instructive here:

     

    Money is the negation of the medium of circulation as such, of the coin. But it also contains the latter at the same time as an aspect, negatively, since it can always be transformed into coin; positively, as world coin, but, as such, its formal character is irrelevant, and it is essentially a commodity as such, the omnipresent commodity, not determined by location. (228)

     

    Hence, both the coin that goes into the making of the image, and the image itself, are only different moments of money as value in continuous, “omnipresent” circulation. Marx calls money a “mental relation” that can be seen to be emphatically in currency all the time, regardless of perceptual transformations from coin to image and back to coin again, in capital’s conditions of command (Grundrisse 191). It is in this sense that money does not stop being money once the image is produced; as Goddard puts it, there is always money “burning on screen,” or as Fellini says about the ancient curse of money on cinema, “when the money runs out, the film will be over.”14

     

    Thesis 3: The televisual, as techne, becomes a part of informatics in the same manner as general attributes of social life become increasingly capitalized. Televisuality as a phenomenological proposition is of the order of the subject (he who posts the card and she who sees or reads out of love), and the distance between its origin and its telos is the enunciative space between the positions of the addresser and the addressee, where the card can be said to “world” itself in transit. It is this bipolar communicative arrangement between subjects (one of the many social contracts of the human) that is translated into immanent value on the move when televisuality is informationized, since, as we have said earlier, informatics, or the circulation of information, tends to erase all distance between the speaker and the listener. It is the habit of massification that reduces love to a cliché.

     

    Thesis 4: This is not to say that informatics or the flow of information has nothing to do with institutions of truth, culture, representation, or art. Simply put, the forces of global informatics “report” such events whenever and wherever they happen by instantaneously translating them into value in circulation (screentime = money time). For instance, there are many ways of claiming “authenticity” for the art work, one of them being the originality of inscription in conjugation with the originality of the substrate. As per this logic, the piece garners auratic value only when the brush stroke of Van Gogh, as a geometric, tactile, or formal inscription, is seen to be in assemblage with the original substrate used (the paint, the canvas). The camera and print capitalism detached the two in the latter half of the nineteenth century, as Benjamin so astutely observed, when copies were produced by the mechanical substitution of the canvas and paint with ink and paper–in other words, by changing the substrate while keeping the abstract diagram of the painting intact. The work of art, in becoming capable of democratic dissemination, acquired what we have been calling a televisual potential in the simple form. But today, it becomes properly informationized when its abstract diagram is electronically transcoded, circulated, and then erased instantaneously from a substrate of pixels or digits in order to make room for the next one. It is in this sense that cinema or video–media that involve leaving lasting impressions on permanent bases like celluloid–are industrial recording technologies that are not informatic, but ones that can be subsequently informationized. The camera of informatics on the other hand, can “scan” one thing after another–the sunflowers, the Taj Mahal, a film by Rossellini, an advertisement–translating them into the same pulsating substrate of information, just as capital liquefies everything by translating them into money in transit. The Age of Information is indeed one in which all things solid melt into pulses and copies proliferate without originals. Different forms of artistic, cultural, social, and political activities, various bodies and objects, are all potentially informatic, but only in differential degrees of “newsworthiness” and other forms of commodity value. In concrete terms, what we are talking about thus has much to do with the increasing corporatization of the public sphere and the gradual obsolescence of institutions of public culture, “art” or pedagogic cinema, and public television like the BBC, PBS, or Doordarshan that the postwar developmentalist welfare state invested in.

     

    Thesis 5: Scanning and transmission create images that are more matter and energy in the social circulation of value, rather than simulations of a “real” that is perceptually distant from the viewer but brought nearer to him through electrified re-presentation. As money on the move, information is not immediately knowledge, although knowledge can certainly be derived from it. For a classically defined individual subject contemplating the world, knowledge can be said to be formed in the temporal interval that houses the movement of the faculties from sense perception, to intuition, to understanding, and finally to reason; it therefore, is always “belated” in the order of the present. Knowledge thus can only follow the Taylorized seriality of informatics, which presents the now as an instant of socialized production that produces image-realities only on a commonsensical, psychologically automotive parabasis. The machinic intelligence of informatics can accommodate the self-conscious human only in an environment of habitual distraction, in an automotive sensory-motor engagement that can present the world as “shot through with explanation” by an already-generated body of clichés. Knowledge can only be a distant afterthought of the human, when informatics has already passed on, leaving “news” at its wake, to be analyzed by disciplinary experts. This is also why, properly speaking, there can be no “misinformation,” only different kinds of reported knowledge, some of which may be true and some false. All “false” publications circulated by the Enron management before 2002 were indeed information of the real order because they did not disrupt the circulation of value as informatics. Similarly, the “true” revelations about the company that followed were also information in the same sense–as screen time, they made money. The digitized memory of informatics, reliant on a continuous flow of impression and erasure, does not aim to produce a book of the world; the two moments, one pertaining to the “false” and the other to the “true” are only so from the retroactive perceptual universe of the citizen who is a student of history. The systemic intelligence of information does not seek to tie the two happenings in an obligatory relationship of causality that would be essential for dominant forms of metanarration. In the age of secular novelization, that was the task of the storyteller, whose modernist agon was to connect the past with the present via a weak messianic power. On the other hand, the organization of forms of life and intelligence into a global dynamics of information creates an epoch where it is only the “superstate,” as a transnational military-corporate diagram of governance, that is rendered capable of reading the book of the world. This is because if information is something that produces realities rather than reflecting them, it is only global superstatal formations of capital, like CNN or Fox, that can adequately invest in molar instruments of command and dominance in this field. It is thus here that the operative logic of the satellite intersects with that of the cannon; the phenomenology of information coincides with that of the bomb. No one can out-war the transnational corporate state because it has the bomb; no one can out-inform the same because it has the satellite. It also goes without saying that power based on informatics has serious consequences for human politics and governance. When state activity is based on an organizing principle of information rather than politics, (such as instant management of security and policing terror induced “emergencies”), governance includes legislative actions, rational debates, or knowledge formations only as “afterthoughts” that follow the instantaneous, preemptive reflex of informatic action. Informatics, as we have noted earlier, is that which makes the will of the state, rather than its word as law, immanently operable. This is done through a performative, on-the-spot surveillance and management of variables instead of traditional juridical protocols involving law, its interpretation, and its application. Elsewhere I have elaborated in greater detail how, in our post-9/11 world, informatization and policing on a global scale has become indistinguishable from militarization of civic spaces.15

     

    Thesis 6: An ideology critique of CNN is quite useless if it is conducted purely on the basis of politico-ethical responsibilities and Kantian ideas of public exercise of reason. Such a discourse would locate the problem squarely on the question of voluntarism that idealistic modernity demands from its citizens, including the administrative heads of public media houses. The human intentionalities of CNN need to be understood only as attributes of a corporate body of “trans-human” interests–that of capital and its circulation.16 In that sense, CNN always telecasts the unfolding, circulating story of CNN itself, as value in a perpetual state of making on screen, where time, no matter what it reflects, champions, denigrates, or represses, is always money. A nominalist denunciation of media politics, based on categorical notions of “rights” and “representation,” is akin to a wishful critique of “capitalism” from a checks and balances perspective of liberal humanism–that is, a critique of predatory capital without a critique of wage labor or the money form. To go back to Deleuze’s formulation, such an effort would be to revise and reform Hitler with information itself, when no amount of the latter can be sufficient to defeat him. In nominal terms of the liberty that the free market brings, there actually can be no vertical installations of power or spaces of enclosure (the factory, prison, gulag, or concentration camps in their classic carceral incarnations, Hitler in his paradigmatic human figuration) to prevent the subaltern from speaking. It is an entirely different matter that she cannot speak either because it takes money to do so or because the speech itself has to accrue value in terms of global interests of money. The meritorious communicative actions between publics and counterpublics are thus always informed by the great monologue of power, in which money alone speaks to itself. In an immanent, multifarious global domain of bodies, statements, practices, lifestyles, and ideologies, it is the circulating logic of capital as informatics that determines the newsworthiness of each. Undeniably, it is also the radically innovative and revolutionary nature of capital that allows for a global panorama of activities without the graduated, hierarchical mediation of the priest or the king. However, the head of the sovereign that was cut off now micropunctually appears on the currency note. Nominally thus, in a postmodern theater of consumer capital, everyone can play the game of representations, since everyone has money. It is a different matter altogether, one that has not much to do with the language games of neo-liberal economics and ideology, that increasingly, to a degree unprecedented in history, some have a lot more of it than others.

     

    Thesis 7: A Kantian understanding of modern culture would suggest that it is a “commanded effect” of social pedagogy–a real compulsion to be free–that allows the citizen to voluntarily submit to the ethical mass of a cosmopolitan whole.17 It is only by being cooked in culture that the citizen can be trained to follow the categorical imperatives of a secular morality out of his own reasonable volition and agency, rather than through a dogmatic and virtuous fear of an angry and jealous Jehovah. Kant’s formulation is of course only a special instance in a general Western aesthetics of teaching, moving, and delighting that determine the ethical value of art. It is important to note that in Kant this idealistic proposition is immediately and anxiously related to social relations of production: culture requires the development of skills that can lead only to “inequality among men” and the institution of private property (Critique of Judgment 356).18 In this light, we can formulate a working theory of the “postmodern” (which is not something that comes after the modern, but which is simply outside the categorical logic of modernity19) as per which the extension of industry into all domains of social life, and the financialization of the globe has, in the last century, led to a gradual obsolescence of an aesthetic of high modernism–that is, art with a pedagogical function. Informatics, in that sense, is a technology that is no longer subservient to the cultural skills of the human or his civil conversations. As a form of production, metropolitan informatics calibrates and reports cosmopolitan culture according to a differential and relative matrix of value and commodity relations. When we speak of a dominant ideology of global capital in its present form, we speak of a horizontal proliferation of energies and a particle semiotics of Anglo-American pragmaticist commonplaces20; in other words, of an immanent form of power that is quite different from the agonistic, transcendental battles of old Europe qua German idealism in particular, battles in which the human found a reasonable freedom in the historical task of supplanting the god or the tyrant. The point is, informatics, as a technology of the social, gains supremacy precisely in a so called post-historical, post-political world, where a massification of common sense states that there is nothing new to narrate at all, in terms of a “totality” of the “human” project.

     

    Thesis 8: In the ancient Greek polis, the classical form of public action that the citizens undertook to achieve immortality was possible only in a spatial and temporal order free of the necessities of the household. The latter space was for production of goods and valuables for the animal existence of man; it was the domestic enclave of the Negro, the woman, or the infant (as in in-fans, or the one without language) as various incarnations of the animal laborans.21 Public action, or the task of the citizen, could thus begin only after the questions of property and labor were settled, after “man” had, through the labors of the woman and the Negro, provided for his animal existence. In the epoch of enlightenment modernity, we see a similar formulation in Kant, who suggests that it is only the man of property who is capable of disinterested public exercise of reason.22 Property, however, in the sense Kant uses it, is static and has value primarily as Vermögen–that is fixed capital, or ground rent, to use a term from nineteenth-century political economy. The German thinker is very careful to deny it the dynamic and expansive interest of capital. It is useful to recall here Kant’s anxious warnings against “dangerous money power” and too much foreign trade as being detrimental to the freedom of individual states and their co-existence in “eternal peace.”23 When it came to dictatorship of political realities of the republic, that is, the very question I began this essay with, Kant famously opted for enlightened, republican monarchy instead of aristocracy or democracy precisely to ensure that the spheres of interest-free public reason and interest-driven private practice were kept separate.24 Now the question therefore becomes, in an era of multinational capital, neo-liberal ideology, and unprecedented global trade, where the household and its logic of production extend completely over the public sphere, when all of us become shareholders in the public tasks of the animal laborans, who or what may be the monarch that says, “Argue as much as you want and about whatever you want, but obey!”?25 It is indeed money that is the sovereign in our occasion, in moving from being “a servant of commerce” to the position of the latter’s “despot” (Marx, Grundrisse 199).

     

    Postscript on the Political

     

    What the patriarch in Garcia Márquez’s El Otono del Patriarca dreads is not the televisual as such, but the mysterious force of transfer, by which the televisual, without his command or approval has already become informatic. During the royal burial ceremony, the mask of power becomes televisual not just in the old ritualistic sense of seeing the sovereign in the distance through a series of graduated, hierarchical mediations; it becomes bewitchingly informatic for the patriarch after his “death,” precisely when the order of spectacle (of which he thought he was the author) and the dictatorial visage that it creates refuses to die with him. The mask as information merely circulates between heads of pretenders that climb into it from time to time, for their proverbial fifteen minutes, almost as if by a mathematical chain of chance that is inhuman in its operative intelligence. The patriarch’s dead, “fagot self” thus becomes the latest calendrical newsbyte in the eternity of circulating informatics and the deathlessness of the mask which is always on the screen. When the televisual becomes “live” as in informatics, it does not monumentalize the mortal son of Bendición Alvarado in his afterlife, as an arrested profile of power itself. The perpetual iconography of the dictatorial mask, telecast “live” amidst the ebb and flow of human fortunes, presents the figure of power as catachresis, as an unstable conglomeration of forces which deterritorializes and reconfigures from moment to moment, as it flows from head to head.

     

    But the predicament, in our occasion, is of course not just the old patriarch’s alone. This metropolitan geometry of producing social meaning seems, to a far greater degree, to have inducted both the silent subaltern as well as the “interest free” humanist intellectual who presumed to speak for him to differential states of global in fan-ness–beings without language. By that token, one can certainly talk about a functional equation between “wealth, sufficiency, and truth” that fragments and destroys the constitutive, world historical impulse of the political which various strands of enlightenment modernity had propounded.26 Indeed, the habit of information becomes a technical possibility in what is called a post-historical landscape of ruins, where nature is gone for good, where the great pedagogical and exemplary institutions of culture are inducted into a transnational museum of images, and where it becomes increasingly difficult to make a categorical distinction between documents of civilization and those of barbarity. After all, how can one even speak of a public exercise of reason amidst an operational logic of capital that reduces discussion and consensus to the business of adequately investing in public relations, mathematizing and controlling the “free” information environment through a strategic saturation of images, and finally getting a desired feedback in terms of sales or opinion poll numbers? If, in social terms of massification (the tasteful individual or group can always switch off CNN or engage in parodic motions of culture and art without any socially transformative potential) we are all virtual laborers of consumption and consensus, how can man even presume to make history, with or without deliberative choice? Perhaps in understanding this systemic picture of global informatics we need to avoid the mistake of granting it a total moment of worldly arrival, that is, picture it as an instant that, in its all encompassing finality, extinguishes history itself (the meaning of history would then be confined to a charter of tasks and contracts attributable to the epistemological fiction of the self-conscious “human” subject). In other words, we need to understand that a working notion of virtual labor should not virtualize the concept of living labor itself, with its massive antagonistic energies directed against capital globally. Indeed the question of habit is a tricky one: it could be a fundamental Eurocentric habit of thinking politics solely in terms of representation, rights, property, law, legislation, and justice as per the normative protocols of liberal democracy that could lead us to the mistake that both history as a chaosmos of interacting forces and politics as class struggle are either over or mediatized beyond redemption.

     

    The point is thus to understand that the metropolis, as a managerial and marketing terminal of power that besieges the global countryside through informatics and militarization, can generate the surplus energy to sustain itself only by perpetually producing the Negro at the frontiers. The metropolis, we must make clear at this point, is not the same as the modern city. The modern city had evolved a few centuries ago, through the creation of avenues and alleys of production, labor, and communication in between the great feudal estates, surreptitiously or dramatically cutting the bonds of filiality and rentiership. The metropolis, on the other hand, is an abstract diagram of an urban value system that informs the city, recasting the latter as a center for managerial, technocratic, and military governance. It is thus a site for news, surveillance, security, advertising, entertainment, consumer choices, products, marketing, spying, war, and communications. When the diagram of the metropolis inscribes the city, it reinvents the latter as a center of financialization rather than industrialization. Hence, the metropolis, as a figure of thought, should not be considered in an empiricist manner; real cities like San Francisco and Bangalore are merely dense, topological assemblages of money, technology, and goods in such a worldwide web of urbanity. This is also why the latter can be called the Silicon Valley of India, as a terminal of power that is different from its counterpart in the West only in terms of degrees and intensities of value-laden happenings. This is also the driving logic that increasingly redresses all urban formations in the world, in differential degrees, like rich and poor cousins of Las Vegas. According to this metropolitan cartography, there can be no political citizens in the old historical sense within a city now reserved for denizens employed in managerial action, because the worker engaged in class struggle and the conscientious Kantian legislator would be simply anachronistic figures–displaced refugees momentarily trespassing into prime real estate. If the latter figure is gone for good, the former is relocated, with the classical factory itself, in the “third world” elsewhere.27 In this context one could mention a recent statement made by the U.S. administration pertaining to an unreal and frightening diagram of an “ownership society”28, a violent and abstract coda of metropolitan conformity which constitutes the ultimate fantasy of capital–a totalized and consummate social vanishing of labor.

     

    The search for another form of politics has to begin with a critique of the aphasic, self-conscious navel-gazing of the North Atlantic intellectual, who approaches a state of stupefied entropy on looking at a monstrous military-informatic-financial assemblage which has reduced the great modernist projects of culture and ideology to incidental arrangements that can be only locally applied. To restrict an understanding of the political that is emergent to a set of cognitive phenomenological tasks of the human subject, who, as Foucault points out, is an empirico-transcendental fiction of the West very much in the twilight of his career29, would be, in the last instance, subscribing to a transcendental stupidity not dissimilar from that of informatics itself. That is, the assumption that today everything and everybody is already spoken for, evaluated, and ordered by the hidden tongue of the market, instead of by the king or the philosopher of yore. This is why, when all of us are irremediably tinged with the curse of money, a caricature of liberal political action, conducted through conservative channels of human conscience and morality, becomes part of an overall shareholding of neo-imperial “guilt.”

     

    A new form of political thinking has to begin by taking into account vast amounts of energies in the world antagonistic to capital in terms that do not refer back to the normalcy of the human subject inaugurated by the classical enlightenment of Europe. It is part of the transcendental stupidity of geo-televisuality to impart such hostile energies with a catalogue of profiles: the criminal, the delinquent, the madman, the Negro, the woman, the child, the African AIDS victim, the poor, the unemployed, the illegal immigrant, or the terrorist. Informatics is about the reporting of the state’s pharmacopic action on these bodies, as objects of charity, aid, medication, schooling, or military intervention. This is why the unspeakable antagonism of living labor in the world is never “visible” on CNN or any other corporate geo-televisual schema of metropolitan representation. The latter can discern only the ontology of money and its coalitionary interests; humans, who are only refugees great and small, can only climb into one or many of the designated profiles of massification. The centralizing, perspectivist drive of CNN–as a repetitive human psychodrama of development, birthpangs of modernity in the frontier, subjugated and freed consumer desires–overlooks forces from the margins of the frame in trying to fit entire crowds into the telegenic face. Labor and its multiple wills to antagonism (of which various narratives of resistance are only partial but undeniably important molar expressions) are actually unrepresentable precisely because they lack a “human” face. Global antagonisms to capital are at once utopic (as in “non-place,” since the logic of globalization cannot posit an “outside”) and pantopic; they are, in multiple forms, and in different degrees of sublimation, nowhere and everywhere. They constitute a gargantuan beastly body that Hegel feared, in being a passional, multitudinal formation no longer guided by the soul of humanism.

     

    A judgment of the panorama of expressions of this global antagonistic will along the lines of good and bad can only be an afterthought; political thinking in our occasion can begin only with the acknowledgement of these energies as eventful, and not subject to essential categories of a state language that has become global. In other words, thinking has to proceed acutely, from an awareness of that very point of danger where the state fails to “translate” such affective hostilities into repetitive instances of its own psychobiography. It is this dire poverty of political language that the neo-liberal state tries to cover up with violence dictated in a situation of “emergency,” legitimized by an emotionalist, alternately folksy and biblical rhetoric of “good” and “evil.” Here I must strongly clarify that I am not registering support for this or that statist ideology of violence such as that of Al Qaida which, like its Western counterparts, merely captures and mobilizes some of these energies. But it is not difficult to see how informatics peddles the worst clichés of neo-liberalism in trying to enframe antagonism through a host of good and evil profile doublets according to which a population is invented and managed, or policed and fed–the model minority contra the inner city delinquent, the healthy contra the mad, the peaceful Arab contra the Islamic bigot. In terms of spectacle and violence, it thus falls perfectly within the logic of war/information to have the yellow cluster bomb interspersed with the yellow food packet during the recent war in Afghanistan. The global state of security today violently tries to foreclose the political by informationizing complex insurrectionary potentialities in terms of a simplistic, self-evident, and bipolar logic of peace and terror. The latter thus becomes a generic term to describe reductively a multiplicity of forces–from Latin American guerilla movements to African tribal formations to Islamic militancy in the Middle-East or Maoist rebellions in Nepal. The freedom of choice offered by the globally rampant North Atlantic machine of war and informatics is no longer between dwelling as a poet or as an assassin, but between being a statistic or a terrorist.

     

    Informatics, in our occasion, is a form of power that, in its transcendental stupidity, tries to harness all antagonistic desires into a hermeneutic of consumer culture and a behavioralist sociology of the human. A functionary of the United States Federal Government once described a discontented lot at some part of the world as people who basically want refrigerators. The reportage in CNN takes place on the same parabasis of value as, and of, capital alone–one that always seeks to translate political energy into configurations of consumer desire, that of seeing and being seen on CNN. The old Clausewitzian exchanges between war and politics thus become mode retro moments of crises management in a general metanarrative of development; the agonistic dialectic of Hegelian history gives way to functionalist modalities of facilitation and investment–adequate CNN and adequate refrigeration. Thinking the new, thinking politically in our time, should begin with a radical questioning of the money form and its production of global social life. It needs to proceed without the comforting assurance of ready-at-hand narratives of resistance and has to explore existing practices and potentialities of antagonism, not only in terms of how, in moments of danger, they are sometimes territorialized by fundamentalist ideologies, but also in terms of how they perpetually, insidiously, and in completely inhuman ways, transvaluate values.

     

    Notes

     

    Brief portions of this essay have been published as Anustup Basu, “Bombs and Bytes,” Metamute 27 (Winter/Spring 2004).

     

    1. See Kant, “Eternal Peace”: “It is not to be expected that kings philosophize or that philosophers become kings, nor is it to be desired because the possession of power corrupts the free judgment of reason inevitably. But kings or self governing nations will not allow the class of philosophers to disappear or to become silent, but will let them speak publicly” (456). From such a premise Kant creates the compound, secular figure of the moral politician who “employs the principles of political prudence in such a way that they can co-exist with morals” (459).

     

    2. I will not open the can of worms about the fascist Heidegger here, who identifies the German volk as being qua Being and ironically ends up supporting the Nazi party, although perhaps one can say, not in the hope that it would develop a monstrous technological war assemblage which would require millions of human bodies as basic raw material.

     

    3. For instance, one could consider in this respect Etienne Balibar’s argument about new racism as a differential index of exclusion and discrimination, a racism without a categorical deployment of race as a biological essence. In other words, Balibar argues that in the aftermath of the civil rights struggles of the 1960s, culture has increasingly replaced biology as a chief operative force in the modalities of racism. The celebratory spirit of Clintonian multiculturalism of the 1990s can be seen in this light.

     

    4. To clarify the obvious: even if further “investigations” were to reveal a logical link between Saddam Hussain and Al Qaeda, it would not dispel this thesis about the present circumstances.

     

    5. It must be understood that the version of the “Work of Art” essay I am discussing here is the one translated (often with unhappy results) by Harry Zohn in Illuminations. There are about eleven drafts of the essay. I also need to make clear that the hope in the ultimate maturing of society, in an irresistible dialectical development of the socius toward a politicization of aesthetics, is a Hegelian positivism that Benjamin inherits from the German idealist tradition and begins to discard in the “Work of Art” essay itself. The critique of such historicism arrives more memorably later in Benjamin’s study of Western modernity in “Theses on the Philosophy of History.”

     

    6. The point, perhaps, is to commit a disciplinary sacrilege. A political departure from the comforts of metaphysical and ontological truths should not lead to a professional-academic hermeneutics of sanitized repetition, or to a domestication of thought into neatly separated and hermetically sealed categories like modernism and postmodernism.

     

    7. See Deleuze Cinema 2 28-29 and 264-70.

     

    8. I am of course alluding to Francis Fukuyama’s Kojevian-Hegelian thesis in The End of History and the Last Man.

     

    9. See Deleuze, Cinema 2 263-69.

     

    10. In this context see Arendt’s useful elaborations in The Origins of Totalitarianism.

     

    11. See Negri, The Savage Anomaly 10-11 for a remarkable elaboration of these concepts.

     

    12. See for instance in the Grundrisse: the “tendency of capital is circulation without circulation time; hence also the positing of the instruments which merely serve to abbreviate circulation time as mere formal aspects posited by it” (671).

     

    13. See Negri, Marx Beyond Marx: Lessons from the Grundrisse, and Debord, Society of the Spectacle 24.

     

    14. See Deleuze, Cinema 2 77-78.

     

    15. See Basu.

     

    16. Does the corporation have a persona in terms of the human figure? Perhaps we need to talk a bit more concretely, in terms of an illustrative feature of the American style neo-liberalism that is now rampant all over the world. In 1886, a bizarre distortion of the Santa Clara Supreme Court decision by the Court’s reporter led to corporations claiming that that they were also entitled to human rights laid out for the “people” in the Bill of Rights of the U.S. Constitution and the Fourteenth Amendment that ended slavery. This “corporate personhood,” as an inhuman concentration of immanently flowing money, a dense accumulation of interest-bearing forces, is the figure that has taken the business of rightful representation away from the hands of the human agent. As giant assemblages in a great civilizational plane of interest group maneuvers, advertising, propaganda, law, legislation, justice and consensus, corporate personas are to be seen as individual entities that share the same rights (including those of privacy) as humans, but also as bodies that have more to do with R&D than Homboltian education, lobbying than polity, managerial intelligence rather than the tics of the human. In contradistinction to the individual, they also incidentally have more money, more processing power, more energy, and more technical intelligence at their disposal.

     

    17. See Kant, The Critique of Judgment 355-57.

     

    18. Elsewhere, of course, in “Idea for a Universal History,” Kant suggests that man, with his “egoistic animal inclination,” needs a master who “is supposed to be just in himself and yet a man” (122-23). When we talk about enlightenment and Kant, it is always productive to remember that the ideal of normative freedom that is so essential for the moral education of the modern citizen, was, in his historical context, very anxiously located in a state that rested its fragile body-politic on the benevolent but despotic shoulders of Frederick the Great.

     

    19. Indeed, in recent times it has become plainly evident that postmodern metropolitan formations can operate very effectively in tribalistic modes.

     

    20. It needs to be made clear that I am not categorically tying this to a philosophical tradition of pragmatism. This robust anti-formalist, anti-Cartesian line of thinking that began in the nineteenth century with Charles Sanders Peirce was founded on the rejection of the individual as the sole custodian of truth, a critique of a medieval scholasticism that traced all knowledge back to one authority on the one hand and of massified commonsense as bad logic combined with metaphysics on the other. The call for Peirce was thus for an irreverent scientific experimental community that would not allow thought to ossify into dogma. Thinking pragmatically entailed a fundamental refutation of the subject-object duality endemic in continental thinking; reality was to be accounted for as an adequate, for-the-moment coming together of sensations and beliefs. It is not possible here to discuss this variegated tradition, including its later instances of conservative defense of American capitalism, but one can perhaps point out briefly that what we have been talking about so far qua informatics is precisely that form of power that forecloses “experience” or “action” in this sense. Informatics (rather than communitarian-experimental experience) is that which increasingly dominates the space of action between a globality of managerial, military, and money interests, and a locality of professional and familial satisfaction. Politics and knowledge thus threaten to become precisely what John Dewey warned against–merely spectatorial, with the correspondence between a locality of American communal belief, and a global materiality of Americanization in the world becoming increasingly informationized, taking place only through planetary circuits of investment, charity, terror, and militarization. Democracy too tends to become what Dewey, speaking in terms of human governance, called sovereignty chopped into mincemeat, buttressed by opinion poll demographics of power based on a numerical notion of equality and a formalistic isolation of the “I.”

     

    21. See Arendt, The Human Condition for an elaboration of this theme.

     

    22. See Kant, “Theory and Practice”:

     

    He who has the right to vote on basic legislation is called a citizen [...]. The requisite quality for this [status], apart from the natural one that the person not be a child or a woman, is only this: that such a person be his own master (sui iuris) and hence that he have some property (under which we may include any art, craft or science) that would provide him with sustenance. [...] a man who, when he must earn a livelihood from others, acquires property only by selling what is his own and not by conceding to others the right to make use of his strength. Consequently he serves no one, in the strict sense of the word, but the commonweal. (420)

     

    Kant is however careful in clarifying that the legislative equality among citizens should be dictated by a qualitative aspect of property, not a quantitative one: “Not the amount of property, but merely the number of those owning any property, should serve as a basis for the number of voters” (421).

     

    23. See Kant, “Eternal Peace.” This is postulation 4: ” No debts shall be contracted in connection with the foreign affairs of the state.” While Kant is ready to admit state borrowing for the purposes of internal development, he is against debt

     

    as an instrument of the struggle between the powers, a credit system of debts endlessly growing though always safe against immediate demand (the demand for payment not being made by all the creditors at the same time)--such a system, the ingenious invention of a trading people in this century, constitutes a dangerous money power. It is a resource for carrying on war which surpasses the resources of all other states taken together. (433)

     

    24. See Kant, “Eternal Peace” 437-41 and “What is Enlightenment?” 137-39.

     

    25. This is the disposition Kant attributes to the enlightened princely figure of Fredrick the Great. See “What is Enlightenment?.” The secular monarch permits his subjects to “make public use of their own reason and to submit publicly their thoughts regarding a better framing of such laws together with a frank criticism of existing legislation” (139).

     

    26. I am of course referring to Lyotard’s thesis in The Postmodern Condition.

     

    27. One has to be careful here; I am not proposing the category “third world” in a positive territorial sense, informed by traditional Eurocentric discourses of self and other. The relation between the globalized third world and the metropolitan diagram as planet city is a dispersed, micropunctual one that infectiously erodes classic inside/outside divisions: the country and the city, the East and the West, the home and the world. The international division of labor is a useful determination to make, but not in categorical terms of molar identities like nationhood.

     

    28. See Bush.

     

    29. See for instance Foucault: “man is neither the oldest not the most constant problem that has been posed for human knowledge […] […] As the archaeology of our thought easily shows, man is an invention of recent date. And one perhaps nearing its end” (386-87).

     

    Works Cited

     

    • Arendt, Hannah. The Human Condition. Intro. Margaret Canovan. 2nd. ed. Chicago: Chicago UP, 1998.
    • —. The Origins of Totalitarianism. New York: Harcourt-Harvest, 1973.
    • Balibar, Etienne. “Is There a New Racism?” Race, Nation, Class: Ambiguous Identities. Eds. Etienne Balibar and Immanuel Wallerstein. London: Verso, 1991. 17-28.
    • Basu, Anustup. “The State of Security and Warfare of Demons.” Critical Quarterly 45. 1-2 (Spring/Summer 2003): 11-32.
    • Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. London: Fontana, 1973. 83-107.
    • —. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations 211-44.
    • —. “Theses on the Philosophy of History.” Illuminations 245-55.
    • Bush, George W. “President Bush Discusses Economy, Small Business in Wisconsin.” Office of the Press Secretary. 3 Oct. 2003 < http://www.whitehouse.gov/news/releases/2003/10/20031003-4.html>.
    • Debord, Guy. Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone, 1995.
    • Deleuze, Gilles. Cinema 2: The Time Image. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: U of Minnesota P, 1989.
    • Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage, 1970.
    • Fukuyama, Francis. The End of History and the Last Man. New York: Avon, 1992.
    • García Márquez, Gabriel. The Autumn of the Patriarch. Trans. Gregory Rabassa. New York: Harper, 1976.
    • Heidegger, Martin. Being and Time. Trans. John Macquarrie and Edward Robinson. Oxford: Blackwell. 1962.
    • Kant, Immanuel. The Critique of Judgment. Trans. J.H. Bernard. New York: Prometheus, 2000.
    • —. “Eternal Peace.” Philosophy of Kant 430-76.
    • —. “Idea for a Universal History with Cosmopolitan Intent.” Philosophy of Kant 116-31.
    • —. The Philosophy of Kant: Immanuel Kant’s Moral and Political Writings. Ed. Carl J. Friedrich. New York: Modern Library, 1948.
    • —. “Theory and Practice: Concerning the Common Saying: This May be True in Theory But does not Apply to Practice.” Philosophy of Kant 412-429.
    • —. “What is Enlightenment?” Philosophy of Kant 132-39.
    • Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis: U of Minnesota P, 1984.
    • Marx, Karl. Capital: A Critique of Political Economy. Vol. 1. Trans. Ben Fowkes. Intro. Ernest Mandel. London: Penguin, 1976.
    • —. Grundrisse. Trans. Martin Nicolaus. London: Penguin, 1973.
    • —. Eighteenth Brumaire of Louis Bonaparte. New York: International, 1972.
    • Negri, Antonio. The Savage Anomaly: The Power of Spinoza’s Metaphysics and Politics. Trans. Michael Hardt. Minneapolis: U of Minnesota P, 1991.
    • —. Marx Beyond Marx: Lessons from the Grundrisse. Trans. Michael Ryan et al. New York: Autonomedia, 1989.

     

  • Aesthetics without Art: The Para-Epistemic Project of Kant’s Third Critique

    Christopher Forster

    English Department
    University of Virginia
    csf2g@virginia.edu

     

    Review of: Rodolphe Gasché. The Idea of Form: Rethinking Kant’s Aesthetics. Stanford: Stanford UP, 2003.

     

    When poststructuralists return to “classics” of Western philosophy, it is often in a spirit of revision. When Lacan turns his attention to Kant, it is to insist, against prevailing wisdom, that Kant must be read “avec Sade.” When Foucault reads Kant’s “What is Enlightenment?” it is largely to appropriate a notion of enlightenment for Foucault’s own project. Rodolphe Gasché’s project in The Idea of Form is decidedly different. More in the tradition of the explication du texte than that of the hermeneutic of suspicion, Gasché returns to the Critique of Judgment in order to reinforce its position within the Kantian corpus.

     

    Gasché shares with his poststructuralist peers a practice of meticulous close reading which guides The Idea of Form. Having published books on Derrida and Paul de Man, Gasché’s credentials may ally him with deconstruction. The Idea of Form, however, is not a “deconstruction of the Third Critique.” Rather than borrowing his vocabulary from deconstruction, or any other critical tradition, Gasché offers a thoroughly Kantian reading of the Third Critique. Gasché attempts to take seriously Kant’s famously obtuse claim that the Third Critique completes the critical project of the first two critiques. Judgment, Kant claims, is “suitable for mediating the connection of the domain of the concept of nature with that of the concept of freedom, as regards freedom’s consequences, inasmuch as this harmony also promotes the mind’s receptivity to moral feeling” (Kant 38). Gasché focuses on what he calls the “para-epistemic” role of the faculty of judgment, exploring the capacity of aesthetic judgment to mediate between the realm of the understanding (deterministically governed by laws) and the realm of reason (which is the domain of freedom and morality).

     

    While Gasché is not the only critic to take seriously Kant’s claim that the Third Critique bridges the chasm between the other two, his analysis nevertheless operates as a helpful corrective to the manner in which we may normally understand the Third Critique.1 Too often the province of the First Critique is taken to be epistemology, that of the Second morality, while the Third, a somewhat inexplicable addition, is thought to deal with aesthetics. This model is an oversimplification that does not respect the complexity of Kant’s texts, yet it remains the prevailing model. Gasché offers a compelling corrective, demonstrating how Kantian aesthetics emerges from the subject’s confrontation with objects for which it has no concepts.

     

    As its title suggests, the Third Critique is not primarily concerned with aesthetics, but with the faculty of judgment. Kant explains, “judgment in general is the ability to think the particular as contained under the universal” (18). As it appears in the Critique of Pure Reason, judgment is at the disposal of the understanding as the faculty which subsumes the particular, which is given from intuition, under the universal concepts of the understanding. In the Third Critique, Kant identifies this type of judgment as “determining” or “determinative” and posits another form of judgment. “If the universal (the rule, principle, law) is given, then judgment, which subsumes the particular under it, is determinative. . . . But if only the particular is given and judgment has to find the universal for it, then this power is merely reflective” (Kant 18-19). Reflective judgment provides most of the subject matter for the Critique of Judgment, and it is as a form of reflective judgment that aesthetic judgment emerges in the Third Critique.

     

    Reflective judgment has the singular function of securing a minimum level of cognition when the subject confronts a seemingly uncognizable object. Gasché explains,

     

    in the case of certain objects of experience or empirical representations, determining–that is to say, cognitive–judgments are at a loss . . . and thus reflective judgment, whether aesthetic or teleological, is needed. The task of such judgment consists in nothing less than “discovering” concepts and rules that the particular obeys. In short, the task of reflective judgment, as distinct from the task of determining judgment, is to render intelligible what is particular and contingent by showing it to have a unity that is thinkable by us, although it does not rest on the objective rules that are, of course, the prerogative of determining judgment. (16)

     

    It is this peculiar epistemic situation that Kant’s aesthetics seeks to address, and it is in this situation that judgment discovers its “para-epistemic” task as reflective judgment. “Such judgment is not ‘ante-‘ or ‘proto-‘ epistemic, since these qualifications would suggest, of course, that its achievements precede epistemic accomplishments properly speaking. . . . But the accomplishments of aesthetic reflective judgment stand beside and on a par with cognitive accomplishments; thus aesthetic judgment holds its place as equal to cognition” (Gasché 4). Explaining precisely how the particular and contingent, for which the mind has no concept, comes to be interpreted by purely subjective principles provides the bulk of the material of both the Third Critique and The Idea of Form.

     

    At the end of the published introduction to the Third Critique, Kant provides a table which lists the three cognitive powers (understanding, judgment, reason) alongside each other (38). Such a schema seems to suggest that each of these “cognitive powers” is somehow equal, legislating over its own domain. In the first two critiques, Kant goes to great lengths to demonstrate how reason and understanding each legislates over its own domain. The reader of the Critique of Judgment might easily be misled into believing that the judgment is just another faculty, with its own distinct sphere of legislation. While capable of autonomy in aesthetic judgments, judgment is typically at the service of the understanding:

     

    However autonomous reflective judgment may be, we must recall that its autonomy exists only in distinction from the reflection that takes place in the understanding. In mere reflection upon particulars without objective concepts, the exercise of autonomy remains a function of the judgment’s divestment of something that it ordinarily achieves. (Gasché 24)

     

     

    The Third Critique itself, like the judgment, is not simply another critique, but is comprehensible only in terms of the other critiques. The judgment emerges as the unifying faculty, and the Third Critique proves the completion of the Kantian system, only once we understand that the failure of determining judgment opens up the possibility of another level of judgment, predicated upon an a priori principle that is subjective, rather than the objective concepts of the understanding. It is only its status as “mere” reflection, operating as not quite a faculty, as a para-epistemic power, that allows reflective judgment to unify the reason and the understanding.

     

    In an act of brilliant textual analysis, Gasché highlights the peculiar position of reflective judgment by tracing the qualifiers by which Kant describes it, particularly the German adjective bloss, normally translated as “mere.” Over and over again, Kant speaks of “mere judgment” or of judgments upon the “mere form” of an object. “Mere” captures the way in which reflective judgment represents an achievement in the wake of determining judgment’s failure. Gasché explains,

     

    I believe that his abundant use of these restrictive terms betrays the difficulty of the task faced by Kant in this last critical work–the difficulty of isolating, with the required purity, the realm to be delimited. It could thus well be that rather than occurring incidentally in Kant’s texts, merely is used for systematic reasons, and that its status is that of a philosophical concept comparable, say, to that of the pure. (19)

     

    In The Idea of Form, Gasché charts the development of the Kantian “mere” as one of his key terms.

     

    The sense of “mereness” is captured when Gasché suggests that the a priori principle which governs reflecting judgment, the principle of purposiveness, is “one principle more.” In his discussion of teleological judgments, Gasché highlights purposiveness as something merely added to a failed determining judgment. After differentiating determining judgments from reflecting judgments, Kant further divides the latter category into aesthetic and teleological judgments. By placing his discussion of teleological judgments at the beginning of The Idea of Form, Gasché reverses the order in which Kant discusses the different forms of reflective judgments, and in doing so suggests that aesthetic judgments are of greater concern in the Third Critique. Gasché establishes the priority of the aesthetic by pointing out that only in aesthetic judgment is the judging faculty completely free of the understanding:

     

    Aesthetic judgment precedes all conceptual understanding of the object and hence has its determining basis in the power of judgment alone, free from any admixture of the other cognitive faculties. Teleological judgment, on the other hand, is based on “the concept of a natural end” (27)

     

     

    Faced with an object to which no concept of the understanding applies, the reflective judgment attempts to secure a minimal cognition of the object. In the case of teleological judgments, this is achieved by adding the rational principle of “inner purposiveness” to the perception of the object.

     

    Teleological, rather than aesthetic, judgment imposes itself when confronted with objects of nature, with “its life forms and organisms. From the perspective of the understanding (which knows only mechanical causality), the forms of such objects of nature are contingent, since it cannot come up with any necessary concepts for these natural phenomena” (28). While such objects cannot be comprehended by the understanding, they nonetheless seem as if they are governed by some concept. Teleological judgment operates by adding “one principle more” to the otherwise incomprehensible object–the principle of a natural purpose. “In order to make the organized forms of nature available to possible observation and investigation, teleological judgment follows a guideline, which is the rational concept of a thing as a natural purpose (Naturzweck)” (30). As Gasché points out, because teleological judgment borrows its principle from reason, it is not, like aesthetic judgment, “a faculty that really has its own distinctive and a priori principle” (27). Its principle is, instead, borrowed from reason. Even though the “Critique of Teleological Judgment” is included within the Critique of Judgment, it could as easily have been “appended to the theoretical part of philosophy” (Kant qtd. in Gasché 27).

     

    One implication of this claim, which Gasché’s analysis seems to imply, though he does not comment on it, is the unified epistemic ground of science and aesthetics. Such a unification would not be a facile return to the vainglorious dream of a “scientific” form of aesthetics (as in the more vulgar claims of structuralist literary criticism). In fact, it suggests quite the opposite–that science and aesthetics, while sharing the common ground of reflective judgment, are two clearly demarcated domains: the domain of aesthetic judgment and the domain of teleological judgment. Sciences such as biology and to some extent physics require precisely the sort of assumption that teleological judgments make–assumptions of rationality, comprehensibility, and systematicity in nature. With such an assumption, phenomena are rendered “susceptible to observation and investigation” (Gasché 31). The a priori principle which governs all reflective judgments, that of purposiveness, undergirds both aesthetic and teleological judgments. It is at this level that science and aesthetics are unified within the Kantian framework.

     

    Just as the Third Critique may offer an epistemic model that unifies science and aesthetics, it dissolves any strict division between art and nature. Against most understandings of aesthetics, Kant’s is not particularly concerned with art.

     

    The meaning of “aesthetic” in [the Third Critique], moreover, bears little resemblance to what is known under that title in the history of aesthetics, both before and after Kant. As Kant uses the term it does not refer to artistic representation at all, but to that which concerns the senses in judgments, and is subjective. (90)

     

     

    One consequence of Kant’s subjective criteria is the irrelevance of the origin of the aesthetic object. Aesthetic judgment arises when the mind is confronted with an object for which it has no determinate concept, and yet experiences pleasure in its judging of that object. It is therefore as likely to occur in the presence of objects of nature (such as Kant’s perennial example of the beautiful–a flower) as in the presence of human art. By defining aesthetics with reference to subjective experience, Kant radically reorients the domain of aesthetics. Among other pesky aesthetic issues that Kant sweeps aside is the question of the ontological status of art. Kantian aesthetics, as epistemic phenomenology, is concerned with the entire realm of experience. In place of the question of ontology, as Gasché argues, the central preoccupation of the Third Critique is the nature of the beautiful.

     

    The notion of the beautiful is likely to strike the reader as quaint and unimportant for whatever we might describe as “contemporary aesthetics.” The Third Critique, upon first examination, is likely to seem hopelessly mired in the eighteenth century. Yet, if Kant speaks of the sublime and the beautiful, and fastidiously divides the realm of aesthetic experience into a hierarchical catalog, he nonetheless breaks with eighteenth-century aesthetics in many significant ways. One such break is the complete absence of any notion of “perfection” from the beautiful. More broadly, the Kantian beautiful provides no standards or rules for evaluating art. Instead, what a judgment of the beautiful “is concerned with is exclusively whether the objects under consideration have an indeterminately purposive natural form; in other words, whether they have the form of an object of empirical experience at all” (Gasché 80).

     

    The key word here, and the key to Gasché’s book, is the notion of form–“beauty resides in the form of an object” (60). As Gasché is at pains to demonstrate, this does not make Kant’s aesthetics formalist, in the usual sense of the term. Kant’s sense of form completely evades the form/content division. “Rather than being opposed to content, form, in [Kant’s] sense, gestures toward what is otherwise than form and content–an exuberance of indeterminateness prior to any fixing of objective meaning and its constraining formal characteristics” (Gasché 66). Kant’s formalism refers to the para-epistemic place that aesthetic judgments occupy within his framework.

     

    We must remember that aesthetic judgment, as a type of reflective judgment, concerns objects for which the mind has no concept. If, in spite of the absence of any determinate concept, an object may be judged purposive, “this is because this object displays form” (Gasché 80). Such a display of form occurs when the power of imagination (which apprehends the empirical object as a perception) unites harmoniously with the understanding–but only in a free, undetermined way. If the union of understanding and imagination were determining, the judgment would not be aesthetic at all.

     

    Under the condition that the merely apprehended intuitive manifold of a single object lends itself to being collected into the presentation of a concept in general, a harmonious agreement of the imagination and the understanding takes place, and thereby represents the minimal condition for cognition in general. (80)

     

     

    Like “mere,” the qualifier “in general” highlights the strange position occupied by the aesthetic. While it is not determined, it has the property of determinability, purposiveness without purpose.

     

    A beautiful object is not determined by a concept, nor is it simply undetermined; it is “marked by open determinability” (Gasché 81). As Gasché states,

     

    to put it bluntly, what is found beautiful in the judgment upon the mere form of an object is that the thing judged conforms to the form of an empirical object or thing (irrespective of what it is), rather than refusing itself to such representation (and consequently to representation as such). (80)

     

     

    Beauty is therefore pleasure in the cognizability of an uncognized object, the determinability of an undetermined object. Gasché captures the nature of the Kantian beautiful most succinctly when he writes that “a judgment of taste savors not the phenomenal nature of what is judged but its susceptibility to empirical concepts. Because of its form, a beautiful object is, as it were, exquisitely cognizable” (80). More than any other, the notion of an object that is exquisitely cognizable captures the pleasure that inheres in the act of judging an object. The very act of judging becomes pleasurable, even as the work of judgment is undetermined and necessarily incapable of completion.

     

    Against the beautiful, which resides in form, the sublime is formless. While this sounds like a straightforward recapitulation of the traditional opposition between the beautiful and the sublime, Gasché provocatively re-reads this division. While postmodern criticism has largely forgotten the “beautiful” in favor of the notion of the sublime, Gasché not only reasserts the place of the beautiful, but relegates the category of the sublime to an appendicular position, neither equal nor alternative to the beautiful, but an “appendage to the beautiful” (121).
    Formlessness is only capable of being judged sublime, however, when it also exhibits totality. “Boundless chaos is not enough to suggest sublimity; it must be such that it allows thinking to add (hinzugedacht wird) totality to it. If Kant’s strict terminology did not prohibit it, one would be inclined to say that boundless formlessness must have the ‘form’ of a whole, in order for it to be sublime” (Gasché 123-4). As in judgments on the beautiful, determining judgment fails in the face of the sublime. This failure is experienced as sublime only when the notion of totality can be added to the perception of formlessness.

     

    The notion of totality, however, does not arise in the judgment, but comes from the reason. “In the sublime, there is a presentation of a power that subtends cognizability and its intelligibility, namely reason. This presentation takes place precisely at moments when a given thing not only cannot be subsumed under given concepts but refuses even to be a presentation of the powers of cognition in general” (Gasché 125). The beautiful, while it fails to be subsumed under any particular concept, harmoniously unites the powers of cognition in general. The sublime, on the other hand, represents the complete failure of such powers. The subject, when faced with such failure, nevertheless feels its own power beyond cognition through the reason. This experience of its own power allows the subject to experience formless objects as sublime. “What is judged sublime is the mind’s capacity to form an apprehension of something that thwarts even the possibility of minimal objectification” (Gasché 127). This apprehension only occurs through the intervention of the reason. Strictly speaking, only feelings, and not objects, may be properly judged sublime. The objects which inspire sublimity, inspire only incomprehensibility. Yet reason (through the rational concept of totality) masters this incomprehensibility, leading to an experience of pleasure in the subject as it experiences its own ability to overcome formlessness.

     

    Judgment on the sublime is “an aesthetic judgment at the very limits of aesthetics. . . . it gestures toward something else, namely, practical reason and morality” (Gasché 154). The intervention of reason, necessary for the experience of sublimity, lends a moral dimension to the sublime. Judgments on the beautiful remain pure judgments of taste, representing a harmonious relation between the imagination and the understanding, while judgments on the sublime enter into a relation with the faculty of reason.2 It is this adding of reason to failed judgment that makes the “Analytic of the Sublime” an appendix to the “Analytic to the Beautiful.”

     

    The appendicular nature of “The Analytic of the Sublime” thus consists also in this: that it adds the problematic of reason . . . to the analytic of the reflective aesthetic judgment that has been illustrated by privileging the beautiful. In the discussion of the sublime, it becomes clear that there is an autonomous kind of reflective judgment in which reason, rather than the understanding, plays the major role. (130)

     

    Gasché reorients our understanding of the Critique of Judgment by revealing the para-epistemic role of judgment in cognition and re-centering the text around the “Analytic of the Beautiful.” While the primary division in Kant’s text is the division between the “Critique of Aesthetic Judgment” and the “Critique of Teleological Judgment,” Gasché compellingly argues for the centrality of the former. And while Kant divides aesthetic judgments into judgments on the sublime and judgments on the beautiful, Gasché insists that the former is simply an appendix to the latter. Kant’s text, in eighteenth-century fashion, takes as its province the entire faculty of judgment and proceeds to catalog every appearance of that faculty. Gasché’s focuses the energy of Kant’s text, revealing the centrality of the beautiful in the Third Critique and, more specifically, the notion of form which undergirds it. By doing so, Gasché fleshes out the claim that the Third Critique is not concerned with aesthetics as a theory of art, but with the para-epistemic task of representing an object for which judgment has no concept.

     

    Gasché proceeds to discuss Kant’s notion of interest and disinterestedness, how reason and aesthetic judgments interact, and what special provisions must be made for our understanding of the fine arts in contradistinction to nature. The final chapter, on the role of the rhetorical figure of “hypotyposis,” though a previously published essay, manages to distill and collect much of what has come before. In discussing poetry, in this closing chapter Gasché writes,

     

    the free play of imagination produces only presentation as such, that is, not determinate intuitive fulfillment of concepts but their fullness, their vivid lively filling out in general. This indeterminate, intuitive fullness of the concepts that occurs in the play of the imagination in poetry livens up the mind. It conveys life to the mind, a life yet indeterminate, but purposive to the extent that it brings about the minimal arrangement of the faculties necessary for cognition in general. (204)

     

    It is hard to imagine a clearer, more concise statement of Gasché’s argument for a para-epistemic reading of the role of judgment in Kant’s aesthetics.

     

    Gasché accomplishes a great deal largely as a function of his ability to wed close textual analysis brilliantly to a philosophical discussion of Kant’s system. The drawback of such an approach is its tendency to insulate itself. Gasché explains,

     

    I have also sought to avoid, whenever possible, a critical debate with the various and often contradictory interpretations that these and the related issues have received in Kant scholarship. Rather than challenging Kant’s commentators, I have endeavored to think with Kant. (11)

     

     

    Yet without an engagement with a larger critical discourse the reader is left wondering what implications Gasché’s reading of Kant might have for larger critical debates. Gasché suggests cryptically that the Critique of Judgment “is important for the understanding of the fine arts, and particularly of modern and postmodern art” (3). Yet exactly how it is important he never makes clear.

     

    As a reading of the Third Critique, The Idea of Form is a difficult but compelling account of the Critique of Judgment. Its failure to engage larger conversations within Kant criticism or contemporary aesthetics leaves the significance of Gasché’s re-thinking of Kant’s aesthetics largely undetermined. Gasché highlights a number of aspects of the Third Critique which seem resonant with contemporary critical theory. Kant’s subject-centered aesthetic theory is consistent with that strain of contemporary theory interested in artistic consumption rather than production. Kant’s stress on an aesthetic treatment of nature would seem to be useful for eco-criticism. For my own part, what is particularly compelling about Gasché’s vision of Kant’s aesthetics is its success as a description of our actual experience of aesthetic objects. Eschewing any normative judgment on the role of art, the aesthetic object according to Kant’s model becomes absolutely individual and semantically rich. Because it is indeterminability which defines the work of art, such work enjoins endless interpretation. It is, therefore, the very possibility of infinite interpretability that defines the Kantian beautiful.

    Notes

     

    1. Gilles Deleuze’s lucid, and notably concise, Kant’s Critical Philosophy: The Doctrine of the Philosophy, similarly locates the Third Critique as the capstone of Kantian philosophy.

     

    2. It worth noting, however, that the relation between judgment and reason in judgments on the sublime is not symmetrical with a relation established between the reason and the understanding in judgments on the beautiful. Kant’s schematic style might lead one to this incorrect conclusion, for which Gasché’s reading is a helpful corrective.

    Works Cited

     

    • Deleuze, Gilles. Kant’s Critical Philosophy: The Doctrine of the Faculties. Trans. Hugh Tomlinson and Barbara Habberjan. London: Athlone, 1984.
    • Kant, Immanuel. The Critique of Judgment. Trans. Werner S. Pluhar. Indianapolis: Hackett, 1987.

     

  • How Postmodern Is It?

    Mark A. Cohen

    French Department
    Sarah Lawrence College
    mcohen@slc.edu

     

    Review of: Maurice Blanchot, The Book to Come. Trans. Charlotte Mandell. Stanford: Stanford UP, 2003.

     

    The Book to Come was published in 1959 and is composed entirely of articles written for the Chroniques section of the Nouvelle Revue Française between 1953 and 1958.1 It came at a particular juncture in Blanchot’s career, marking the end of his period of “retreat” into literature. After his passionate involvement with right-wing journalism, which had culminated in anti-Semitic articles against the Blum government in 1936-37, Blanchot refrained from making any direct political statements for another two decades. Instead he became a highly productive and widely recognized literary critic and novelist. In the 1950s alone, he wrote a hundred articles as well as four novellas or récits (as Blanchot called them then). Although these reflections on literature incorporated philosophical and political references, the latter always remained subordinate to literary concerns. In 1958, however, what Blanchot considered to be De Gaulle’s legalized coup d’état and the revelations of French war crimes in the Algerian conflict roused him to enter the political arena once more, this time on the left wing. Over the next three decades his writing and activities become more broadly engaged with issues that went beyond the strictly literary, in particular in the form of anguished reflections on the Holocaust and “Jewishness,” understood more as an existential category than as one restricted to a real historical or religious group. He also participated actively in the événements of 1968 on the side of the insurgent students. In a similar move toward engagement, responding to new art forms and philosophies, he abandoned fiction for a hybrid form of discourse that incorporated criticism, dialogue, and the fragmentary, becoming in turn a highly influential figure for radical French philosophy and writing of the 1960s and 70s.

     

    The Book to Come represents then the purest version we have of Blanchot littérateur in what proved to be his last major work of literary criticism. Emblematic of its exclusiveness in this regard was its close association with the NRF, which began publication in the 1950s after a ten-year hiatus. It became a flagship for a certain small-scale, even “provincial” variant of modernism in its apolitical promotion of a “pure” literature untethered to either ideological statements or grand projects. Under the guidance of the legendary Jean Paulhan, it promoted an investigation of the workshop of writing, printing short excerpts of novels, notebooks, diaries, and reflections by writer-aestheticians like Caillois, Cioran, Jouhandeau, Malraux, and others. Blanchot’s tortuous avoidance of direct reference to his prewar mésalliance has been dealt with at length by American critics. Steven Ungar, for one, finds in the title of The Book to Come an uncanny repression of one of Blanchot’s fascist essays of 1938 entitled “The Revolution to Come.” Indeed, looking at the structure and institutional self-identification of The Book to Come affirms just how comfortable he was in his attachment to the literary. The NRF was a tolerant milieu, defiantly indifferent to partisan, résistant polemics, and thus accommodating of former right-wingers like Blanchot. He quickly came to occupy a special role in the review, becoming what amounted to its house critic during the 1950s, well-placed to create an audience for his own fiction and that of others working in the same vein. The secure position he enjoyed is evidenced in a prefatory note that not only foregrounds his dual activities as both writer and critic but gives biographical information (however exiguous) that is completely uncharacteristic of his habitual reticence about such matters: “Maurice Blanchot, novelist and critic, was born in 1907. His life is wholly devoted to literature and the silence unique to it.”2 Equally unprecedented in the Blanchot corpus is a postfacial note referring to the essays’ provenance–“A little modified, these texts belong to a series of little essays published starting in 1953, in La Nouvelle Revue Française.”

     

    In comparison with his other nonfiction prose, The Book to Come lacks the central theoretical essay of its predecessors Faux pas (1943) and The Work of Fire (1949), the high level of abstraction and metaphysical drama of its sister-work The Space of Literature (1955), and the broad cultural-philosophical sweep of The Infinite Conversation (1969) and Friendship (1971).3 To be sure, the roughly contemporaneous Space of Literature shares with The Book to Come the same abyssal view of literature, a common metaphorics, and rhapsodic style. Nevertheless the former operates on a far more rarified level of ontology, in which a dramatic metaphysics of solitude, death, inspiration, and experience are programmatically interconnected with one another throughout the book as a whole. The Book to Come‘s essays, in contrast, converge toward the same end but separately. Even the opening essay, a retelling of the Sirens myth that describes how narrative works, is immediately followed not by a look at Kafka or Mallarmé’s treatment of Sirens, of which Blanchot was well aware, but by a specific case study of narrative in which Sirens have no obvious place: a review of Proust’s Jean Santeuil. This ad hoc alternation of general and particular is typical throughout.

     

    The essays in The Book to Come can be conveniently divided into three types: 1) the study of an individual author’s path to his Blanchottian masterpiece, including a subset of shorter pieces on contemporary works (by Beckett, Duras, Robbe-Grillet) that, as Blanchot sees it, simply perform in one way or another the essence of literature; 2) the generic study of narrative, notebook, diary, correspondence as they limn, resist, and adumbrate the same; 3) more general meditations on reading, a speculation on the “last” writer, symbolic interpretation, and publicity. It is precisely the relative dispersion of its essays and their corresponding embeddedness in the practical activity (as opposed to the ontology) of writing that reveals Blanchot’s aims so well. In The Book to Come we witness what amounts to an inductive procedure of collecting quite a wide range of examples of authors and genres with the intention of analyzing them in such a way that they confirm his own theoretical insights, literary historical intuitions, and fictional practices.4 The random spread of the monthly reviewer dovetails with the forging of an artistic credo. Many of these authors–Musil, Broch, Borges, and Hesse, for example–did not form part of Blanchot’s preferred modernist canon, and he never wrote about them again. An illustration of this more “professionalized” emphasis can be gleaned from a brief comparison of statements written more or less contemporaneously on the same topic taken from each of the respective books. In The Space of Literature, “to write is to enter into the affirmation of the solitude in which fascination threatens” (33); in The Book to Come, “every writer feels called to answer alone, through his own ignorance, for literature, for its future” (201). It is the difference between an ontological state in which one exists and a specific condition in which one fulfills a task, between space and time.

     

    The stakes of The Book to Come are well captured in the opening lines of “The Disappearance of Literature , ” the essay that begins the fourth section: “Where is literature going? . . . towards itself, its essence, which is disappearance” (195). Blanchot’s criticism from the 1950s charts this strangely circular journey to extinction and explains that literature must be understood to take place in a wholly other time and space than we are accustomed to. Because, strangely, it is precisely literature’s weakness that is its strength or rather its being. It brings a difference into human life in which the systems and ontologies that govern the real world of everyday exchange and rationality no longer apply. But this opposition is not underwritten by the ideology of the Romantic artist or utopian dreamer. The imaginary world is not a better world or more authentic–indeed it can only be truly critical of the existing world by not assuming any such implicit mastery. For substantive critique would require literature to take up the modalities of the non-literary, which for Blanchot means the successful carrying out of a project, the desire to represent, to claim authority, relay tradition, or move others to feel or do. Instead modern literature now tends to examine itself, the nature of the fictive act, and all this entails in terms of speaker, addressee, thought, and temporality/ies. (The difficulties of fitting this into any standard literary history are not something Blanchot examines with any rigor.)

     

    The basic trope governing the Blanchottian ontology of literature in The Book to Come might be called the recursive future and can be described in a simple equation: x = not-yet x. The equation works in both directions, both as a logical and as a temporal description. The being of x is only truly grasped as not yet existing. Any attempt (the result of what Blanchot calls “impatience”) to finish something and achieve it once and for all means that one will fail to do so. Only by realizing that it would be impossible does one do justice to it. This leaves us with the approach to the object and the experience of approaching. The whole linear apparatus of plan, execution, and goal is no longer applicable. The future of a book armed with this consciousness is not in its worldly future–who will read it, the world it will create, the imitators it will spawn, its place in literary history–but the reiteration of its quest to become literature, which is, paradoxically, a search for its original moment of emergence from the silence. Its future is a now that searches back in the past. The eponymous “book to come” then is not only the future of literature in history (though Blanchot does think that on some level), but books like Blanchot’s fiction that in conventional terms never end or even begin. The past here, likewise, does not mean the publicly historical past but the past that is always presupposed as the past in relation to this present moment in which we are reading. Such an unwonted order of temporality also has repercussions for all the components of the world that are presented (if not represented) in texts: the self in literature is always a moment within the text, a fading-reappearing instance of enunciation rather than a substantial, well-defined character; the encounter with others is always impossible yet framed by desire and curiosity; the event is no longer something represented as if it had existed but is the ever-receding quest for its own existence as we experience it in the performative instant. In this intensively temporalized view of literature there is no place for literature as a monumental achievement. Reversing the usual worldly valuations, in Blanchot’s view success in fulfilling one’s projects would be failure in terms of the search for literature and vice versa. As a result, in the The Book to Come‘s penultimate essay, Mallarmé’s oeuvre is said to be most truly formed not from a triumphant sequence of masterpieces but from the detritus of his never-carried-out plan to write an encyclopedic sequence of works to replace the world. According to Blanchot, its wild ambition is realized not because it does replace the world with another but because it reveals so clearly literature’s inevitable failure to do so. Similarly, in the essay on Artaud, Blanchot homes in on the fact that it is Artaud’s failed poems that arouse Jacques Rivière’s interest. Ultimately, it is the penumbra of the poem, his correspondence with Artaud about the latter’s state of mind, that ends up becoming a successful work.

     

    Each of the authors surveyed is shown in The Book to Come arriving at the same conclusions about the nature of literature as Blanchot, whether consciously or unconsciously. The works Blanchot discusses and celebrates are shown to triumph when they have successfully avoided two temptations of the modern writer that are metaphysically impossible to attain and in any case undesirable: the Scylla of immediacy, a return to nature or pure self-expression, and the Charybdis of reference (novelistic “thickness,” the evocation of a milieu, encyclopedic completeness) or culture (copying the great styles of French literature). This tale is retailed over and over again. Proust in Jean Santeuil is caught between a wish to transcribe simple unconnected moments of experience and the desire to provide a detailed depiction of France during the Dreyfus Affair. Broch wants his great work to cover both scientific rationality and cultural dissolution. Rousseau oscillates between the desire for immediacy and the hope of communicating his great vision of human justice, which necessarily requires the adoption of social conventions and so on. In each case what they have to learn is that the right path for them to take as writers is the path that leads in neither of these directions, one that in fact leads to the full assumption of literary language and the depersonalized form of open, mobile temporality that comes with it. Something in each writer resists the final step but their masterpieces take it.

     

    In the generic essays (as I called them above), Blanchot articulates the idea that the specific temporality of literature is opposed to that of everyday life and rational calculation and that literature is able nevertheless to seep into the world surreptitiously–not necessarily to substitute for the everyday but rather to be always available to problematize it unremittingly. In the essay “Diary and Story,” for instance, diaries and notebooks are clearly separated from the work by Blanchot, who sees them as tied to the everyday because they use dates and events to act as a timorous defense against the radicality of what he considers the truly literary. Yet by the end of this essay, the diary’s “quest without concern for results” looks a lot like a Blanchottian work, whereas the quotidian is now said to be infected by literature once it has been reconfigured as diary (188). This whirligig of apparently separate categories that end up intermingling offers an early, abstract template for Blanchot’s complex and obscure “politics” of literature.

     

    The famous opening essay, entitled “Encountering the Imaginary,” uses Ulysses’s non-meeting with the Sirens to reveal how even as he, the man of technique, can experience the reality of a dangerous discovery, he makes sure he is in no real danger.5 By employing his technology in the form of wax in the ears of his men and ropes to hold himself fast, he in fact ensures that no meeting took place.6 Yet as Blanchot views it, Ulysses loses out anyway because he ends up telling the story of the Sirens and becomes Homer in the process. He tells of his failure to reach them even as they have arrived and keep on arriving in the imaginary medium of his discourse. This now-installed impossibility of completion gives birth to its own genre-to-come: the récit. Technique is something that operates in the world of everyday exchange and the linear temporality of calculation. It lends itself quite comfortably to the creation of narratives, too, describing exciting events, and holding the interest of its listeners. But Blanchot shifts the focus from the telling of an adventure (Ulysses meeting the Sirens) to the defeat of the adventure genre itself from within (Homer-Ulysses telling his story). The revelation of the literariness of the adventure story means that the adventure itself becomes interminable in the constant possibility of its retelling (on the syntagmatic plane) and of its being told differently (on the paradigmatic plane). This is Blanchot’s mythic retelling of his own coming to narrative. The non-meeting of Siren and Navigator is structurally parallel to the basic setting of Blanchot’s novellas of the 1950s: two or three individuals approaching, exploring, but never finally knowing each other. It is one more sign of how closely The Book to Come is linked in practical terms to Blanchot’s contemporaneously written fictional works–his own books to come in both senses of the expression–that in this opening chapter he is actually defining the genre of his own fiction, the récit: “Narrative [récit] is not the relating of an event but this event itself, the approach of this event, the place where it is called on to unfold” (6). Elsewhere in his critical pieces, he virtually never refers to his fictional work, even obliquely.

     

    It is one of the fervent hopes of the “Crossing Aesthetics” series, edited by Werner Hamacher, to promote the passage for aesthetics to politics from within deconstruction itself and thereby preserve the halting, involuted complexity of deconstructive reading in the public sphere. Blanchot can fairly be considered the series’ most honored figure: no fewer than three of his books are represented in its catalogue as well as a number of others that are inspired by or directly devoted to him. Yet we should note that this much desired passage does not occur in The Book to Come, which figures politics only in filigree. Blanchot is truly an uncanny precursor for deconstruction here because his politics remain obstinately veiled, retaining a troubling and insistent vehemence that is, as always, coupled with an equally unflappable lack of specificity. A number of the more general essays do allude to important Blanchottian notions of questioning and resistance, that is, the refusal to accept anything as such, a sort of anarchic negativity without any positive component or utopian hope beyond it. Literature is said to make all events equal and equally possible, thus challenging–implicitly–all fixed hierarchies and established values. The fundamental opposition of literary modes of operation to those of the bourgeois world with its goal-oriented work, time, and technology is clear but left without any details or applications to the contemporary context. The beginnings of Blanchot’s deep critical engagement with Judaism, which is an essential element in his politics of the 1960s, can certainly be discerned in the titles of the essays “Prophetic Speech” and “The Secret of the Golem”–but only in their titles. “The Secret of the Golem,” for instance, discusses the confident use of symbolism in literature as emblematic of wrong-headed attempts to make language represent the world. Jews and “Jewish-ness” as such are otherwise absent.

     

    The most overtly political moment in The Book to Come comes at the end. The final essay, “The Power and the Glory,” does bring up an important cultural theme very much in the air in France in the 1950s: the relationship of the writer to mass culture. Blanchot in effect compares the alienation imposed on the reader by literature with that of the public on the individual. What might in Heideggerian terms look like a fall into the “they” or more conventionally and nostalgically the loss of identifiable human beings (“friends”) who might read one’s books is actually embraced by Blanchot as a happy meeting of the twain. In his closing lines, he is implicitly celebrating the equalizing powerlessness that language can, if understood properly, induce us to accept and thus clearing the ground for his, the writer’s, return to politics. In a rarely remarked allusion to Orpheus that is no longer that of The Space of Literature, where it is used as an allegory of Blanchottian creation, here the poet is said not to find the artwork by losing its object but to arrive at his speech by joining the flow of his song with the indifferent murmur of public culture:

     

    If today the writer, thinking of going down to the underworld, is content with going out into the street, that is because the two rivers [the underground and above-ground Styx] . . . passing through each other, tend to be confused. . . . the profound original rumor . . . is not unlike the unspeaking speech . . . the "public mind." (250)

     

     

    Notes

     

    chercher, recherche, navigation
    1. With the exception of his brief review of Bataille’s Madame Edwarda.
    2. “Maurice Blanchot, romancier et critique, est né en 1907. Sa vie est entièrement vouée à la littérature et au silence qui lui est propre.” The expression “lui est propre” could also be translated “which belongs to it” or “which is properly its own.”
    3. The latter two books contained essays from the 1950s as well as the 1960s that Blanchot had not collected in book form at the time but were philosophical and cultural in nature and so more congruent with his later interests.
    4. Space does not permit any detailed consideration of the numerous echoes of his 1957 récit Le Dernier Homme. One essay, for instance, is about “The Death of the Last Writer.”
    5. Mandell’s felicitous translation for “La rencontre de l’imaginaire.”
    6. The French word Blanchot uses is technique, which recalls Heidegger’s 1953 essay attacking the nihilism produced by modern Technik.

     

    Work Cited

     

    • Blanchot, Maurice. The Space of Literature. Stanford: Stanford UP, 2003.

     

  • Danger Mouse’s Grey Album, Mash-Ups, and the Age of Composition

    Philip A. Gunderson

    English Department
    San Diego Miramar College
    pgunders73@hotmail.com

     

    Review of: Danger Mouse (Brian Burton), The Grey Album, Bootleg Recording

     

    Depending on one’s perspective, Danger Mouse’s (Brian Burton’s) Grey Album represents a highpoint or a nadir in the state of the recording arts in 2004. From the perspective of music fans and critics, Burton’s creation–a daring “mash-up” of Jay-Z’s The Black Album and the Beatles’ eponymous 1969 work (popularly known as The White Album)–shows that, despite the continued corporatization of music, the DIY ethos of 1970s punk remains alive and well, manifesting in sampling and low-budget, “bedroom studio” production values. From the perspective of the recording industry, Danger Mouse’s album represents the illegal plundering of some of the most valuable property in the history of pop music (the Beatles’ sound recordings), the sacrilegious re-mixing of said recordings with a capella tracks of an African American rapper, and the electronic distribution of the entire album to hundreds of thousands of listeners who appear vexingly oblivious to current copyright law. That there would be a schism between the interests of consumers and the recording industry is hardly surprising; tension and antagonism characterize virtually all forms of exchange in capitalist economies. What is perhaps of note is that these tensions have escalated to the point of the abandonment of the exchange relationship itself. Music fans, fed up with the high prices (and outright price-fixing) of commercially available music, have opted to share music files via peer-to-peer file sharing networks, and record labels are attempting in response to coerce music fans back into the exchange relationship. The Grey Album and the mash-up form in general are symptomatic of an historical moment in which the forces of music production (production technology, artistic invention, and web-based networks of music distribution) have greatly exceeded the present relations of production expressed by artist/label contracts, music property rights, and traditional producer/consumer dichotomies.

     

    The Forces of Production

     

    Mash-up artists such as Danger Mouse have shown how the recording industry has been rendered superfluous by advances in music production technology. Artists once had to play the record companies’ games in order to gain access to precious time in a recording studio; today, a “bedroom producer” can create a professional sounding album with a personal computer alone. (Brian Burton is known to have used Sony’s Acid Pro.) Indeed, insofar as they want to survive, real studios have had to integrate “virtual” studios into their setup. Many commercial production houses incorporate software into their own environments so that their customers will be able to transfer their work between PC and studio, where it can be further processed. One is tempted to speculate that late capitalist society is on the cusp of the “composition” stage of musical development, as described in Jacques Attali’s Noise: The Political Economy of Music. Attali argues that music’s social function has passed through three distinct stages: sacrifice (the assertion of control over violence), representation (the creation of socially meaningful works), and repetition (the reproduction and dissemination of music apart from social context). The fourth and final stage, “composition,” is essentially utopian: the production of music by and for its own consumers. The traditional opposition of the active producer and passive consumer disappears in the age of composition. Although music production software remains far from universally accessible (most of the planet’s population does not have easy access to a telephone, let alone a computer), the increasingly wide availability of powerful computers in advanced capitalist countries suggests a gradual democratization of technology that does foster utopian impulses.

     

    This change in the material conditions of production has significant aesthetic consequences. Noodling about in a studio was not an option except for the wealthiest bands (such as the Beatles), and, as a result, most artists treated the recording environment more as a mimetic recording instrument, as a means of capturing a live musical performance or at least creating the semblance of a live musical performance, than as a musical instrument in its own right. Liberated from the traditional recording studio (and its institutional supports), the contemporary musician is free to experiment at his or her leisure with ideas and recording techniques that would have been considered too unconventional and even risky in the past. The Grey Album is a perfect example of the kind of artistic experimentation that can result: combining a capella tracks of a famous rapper with pop classics by a band whose record label has never licensed samples of their music for use by other artists is something that would not have happened in a professional recording studio under any circumstances. When artists cease to be constrained by the demands of the market (which include both studio executives’ demands for a hit single and the restrictive demands of today’s consumer, who has been conditioned to dislike any music that makes its own demands on the listener), they may pursue other logics internal to their work. In Attali’s age of composition, the idea of aesthetic autonomy appears on the horizon.

     

    The audio cut-and-paste, pastiche technique of The Grey Album might seem an unlikely candidate for such a modernist notion as “aesthetic autonomy,” but in a culture saturated by sham originality (and the actualization of art in the commodity form) the only viable gesture towards autonomy would have to be the representation of cultural contradiction itself. The Grey Album, with its violation of copyright laws, realizes the extent to which said laws have been put to purposes in contradiction with their original intent. That is, the original function of copyright was to encourage social advance by giving creators a financial stake in their work and by insisting that intellectual property become, after a reasonable period of time, public property. Walt Disney has long since been dead, but his intellectual property, Mickey Mouse and friends, has passed on to another legal “person,” i.e., Disney, Inc., who/that has successfully fought to extend copyright protections for reasons of “personal” profit. Public benefit has been effectively factored out of current copyright law. Monopoly capital has turned a legal spur to innovation and creativity into a tool for artistic repression.

     

    Although its title might suggest a homogenizing synthesis of opposites (the admixture of black and white to form grey–a dialectical fog in which all musicians are grey, as it were), part of The Grey Album‘s vibrancy comes from the way it highlights the culture industry’s specious opposition of white 1960s Brit-pop and twenty-first century black American hip-hop. In the contemporary climate of administrated music, in which radio bandwidth has been exploded into a stelliferous system of synchronic generic differences (classic rock, alternative rock, “urban,” classical, country, etc.) and which interpellates a corresponding “type” of consumer, The Grey Album‘s juxtaposition of the Beatles and Jay-Z takes on the character of a musical contradiction in terms. That The Grey Album can be regarded as such a novelty (even as a musical miracle) belies the extent to which the enforcement of categorical differences in administrated music discourages critical reflection on–and simple awareness of–the history of popular music and its innate syncretism, its vital habit of “borrowing” across the lines of race, class, gender, and national identity. Danger Mouse’s Grey Album forcibly reminds its listeners of the diachronic becoming of popular music. By mashing-up Jay-Z and the Beatles, Danger Mouse, himself a black Briton, highlights the fact that African American hip hop is in many ways a direct descendent of sixties-era British rock–and that British rock is largely a descendent of early twentieth century African American blues, which in turn owes something to Christian spirituals sung on plantations. Introspective listeners will recognize the album’s dialogic structure, and some may even be moved to ask questions about the asymmetrical relations of power that saturate the evolution of popular music.

     

    The Grey Album is not, however, only a history lesson–it is itself an act of resistance. It is, to employ Deleuzian terminology, a kind of “war machine” at work within and against the edifice of mass music. It is rhizomatic in the way it forms transversal relations between genres that have been arborescently structured by the recording industry. The bastard births of the mash-up form–the offspring of forbidden sonic cross-pollinations–tangle the genealogical lines of musical descent, thus leading to the common disparagement of sampling as a form of musical incest. Indeed, the very metaphor of the “mash-up” suggests a process of destructuring, an introduction of confusion, a production of indistinction in which this cannot be told from that. One could look askance at mash-ups, viewing them as puerile, disrespectful mucking about with other people’s property, but one could also celebrate that very puerility insofar as it is anti-oedipal–insofar as it short-circuits the culture industry’s normally enforced boundaries between disparate genres of music. The sense of humor immanent to a good mash-up (such as Soulwax’s “Smells Like Booty,” a fusion of Nirvana and Destiny’s Child), seems particularly amenable to explanation in terms of Freud’s theory of humor as a mechanism that relies on the sudden lifting of the repression on psychic energy. Our smiles and laughter signify our liberation from an excessively restrictive horizon of musical expectations. Psychic energy that had been channeled into rote pathways suddenly streams in unpredictable directions across the surface of culture. The mash-up artist is not at all the sad militant bemoaned by Foucault in his preface to Anti-Oedipus but rather an ethicist in the most Spinozist sense, perpetually in battle with the sad passions that prevent our bodies from realizing their affective powers.

     

    Another undeniably “puerile” pleasure in the mash-up form (in addition to its proclivity for crossing genres) is its willingness to dance on the graves of pop music’s forbears. Danger Mouse’s gesture with The Grey Album is in some ways analogous to Duchamp’s gesture with L.H.O.O.Q. Just as Duchamp scandalized bourgeois fetishists of Renaissance art by painting a mustache on the Mona Lisa (and implying with his title that the original model had a “hot ass”), Danger Mouse zeroes in on the musical institution the Beatles have become and appropriates their sounds into a new, critical context. If art is to move forward, both artists seem to be implying, it can only do so when repressive pieties are broken down and humor injected into the mix.

     

    Distribution Networks

     

    Danger Mouse initially produced a few thousand copies of The Grey Album for friends and distributed copies to independent music retailers. The modest scale of production suggests that the artist’s motivations were far from mercenary. Danger Mouse stood to gain little profit, if any, from his efforts. The Grey Album CD featured Jay-Z in the foreground with his “backing band” arrayed behind him:

     

    Figure 1: The Grey Album
    Design © 2004 kaos
    <worldofkaos.com>

     

    As soon as it became aware of the compact disc, EMI issued cease-and-desist papers to Brian Burton–he was not to produce additional copies of the album and all distributors were to destroy any copies remaining in their possession. EMI’s ham-fisted attempts at repression provoked a grass-roots Internet campaign that effectively demonstrated the ability of peer-to-peer file sharing technology to supplant the distribution of data encoded physical media (CDs, tapes, records, etc). On 26 February, “Grey Tuesday,” nearly two hundred websites defied EMI and posted the entirety of The Grey Album in MP3 file format for easy, free download to any computer connected to the Internet. Well publicized by word of mouth, popular media, and the Web, Grey Tuesday was an unqualified (and unauthorized) success. Disobedient consumers, who had not been given the option of purchasing the album through “legitimate” commercial channels, downloaded in excess of one million Grey Album tracks. Had it been available for purchase at a brick-and-mortar store, such numbers would have put the album firmly in Billboard’s Top Ten.

     

    Grey Tuesday, in its scope and success, can be taken as something akin to the dawning of a consumer class consciousness–members of the Internet community had the collective knowledge and means to put a popular work of art into circulation without the support or permission of the recording industry. One could say that consumers have taken over the distribution of musical goods and services to the detriment of those who have heretofore controlled the means of musical production. The near-instantaneous, viral replication of information on a global network renders moot the legal formalities of trademark and copyright. The traditional radio station, with its fixed formats and mind-numbingly repetitive playlists, has been effectively displaced by technologies that allow music fans to specify what they want to hear and when they want to hear it. Radio and online broadcasting remain useful avenues for discovering new artists, but control over the music is no longer contingent upon the exchange of cash. In the age of digital communism, a song’s exchange value evaporates as soon as that song hits the network.

     

    And it is a matter of communism. Although file-sharing has been besmirched with the label of “piracy” by the institutional purveyors of pop, the phenomenon actually suggests a heartening generosity on the part of consumers. As much as consumers are taught to fetishize status symbols (commodities that identify one as a member of the “haves” as opposed to the “have-nots”), file-swapping suggests that they are inclined to share whenever they stand to lose nothing. The record labels will, or course, respond that consumers will collectively lose when the industry can no longer afford to develop and market new talent. To this objection one may answer that the atrophy of one arm of the culture industry hardly amounts to public hardship. As consumers become accustomed to looking for good music online, they will need to rely on commercial tastemakers less. They may, indeed, find the industry’s “pushing” of mass entertainment increasingly odious. To approach the same issue from a slightly different angle, file sharing threatens to dispel musical ignorance and the industry that profits there from. Music fans trained to think that the major labels are the only sources of music worth listening to discover in the Internet a repository of innovative, challenging music–music, indeed, whose only evident failing has been that it is perhaps too innovative and too challenging for benumbed Clear Channel Communications listeners.

     

    If Attali is correct that music acts as a harbinger of social change, then artists like Danger Mouse may be taken as cultural prophets. They preach a new economics: the communism of simulacra, the unrestricted sharing of digital copies without originals. This new economics deterritorializes the culture industry; it threatens all industries that have traditionally profited as the producers and gatekeepers of information. Whereas communist regimes in the previous century could not withstand the onslaught of cheap commodities from capitalist countries, today we find capitalist countries increasingly vulnerable to the world’s data commies–Danger Mouse, Linus Torvald, Shawn Fanning, and all those who are dedicated to the free flow of information.

     

    Works Cited

     

    • Attali, Jacques. Noise: The Political Economy of Music. Minneapolis: U of Minnesota P, 1985.
    • Deleuze, Gilles, and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. New York: Viking, 1977.
    • Freud, Sigmund. Jokes and Their Relation to the Unconscious. New York: Norton, 1963.

     

  • Theory’s Hubris

    Andrew Timms

    Department of Music
    University of Bristol
    A.Timms@bristol.ac.uk

     

    Review of: Helmling, Steven. The Success and Failure of Fredric Jameson: Writing, the Sublime, and the Dialectic of Critique.Albany: SUNY P, 2001.

     

    While Fredric Jameson’s status as Marxism’s leading theorist of postmodernity is secure–and his influence on many arts and humanities disciplines undeniable–his work, when considered as a whole, has provoked comparatively little secondary literature.1 There are several possible explanations for this situation, not the least of which is the fact that Jameson is still a very active writer. Recent years, for instance, have witnessed the production of a theoretical study of modernity and modernism (A Singular Modernity), as well as the publication in the New Left Review of several important articles (“Globalization and Political Strategy,” “The Politics of Utopia”) covering issues that have long awaited an extended Jamesonian treatment. Significantly, this recent work has tended to add something new to the critical mix. One suspects that Jameson’s theoretical position is not yet completely unfurled, which makes it hard for the critic to treat his oeuvre in terms of any finalized trajectory. But it is surely the sheer difficulty of Jameson’s writing that has discouraged critics from engaging with it at length. Steven Helmling’s excellent recent study, The Success and Failure of Fredric Jameson, is not the first book devoted to Jameson, but it is the first to capture and address the peculiar nature of this difficulty, which Helmling recognizes as arising not merely from the complexity of Jameson’s ideas but, to an even greater extent, from the special qualities of his style. Helmling gives this difficult style of writing a convincing theoretical exegesis and defense, one that grows out of Jameson’s own work in a manner that is intensely enjoyable. The result is a study that should set the tone for future treatments of Jameson, whether or not one agrees with its final evaluation.

     

    Helmling’s Success

     

    What Helmling latches onto first of all is the extraordinary degree to which, in Jameson’s work, style is written into the very textures of the ideas that it carries. As anyone who has ever tried to summarize Jameson’s seminal text on postmodernism will know, the attempt leads only toward an unsettling and wholly unsatisfactory scholarly asymptote. If you condense or restate a passage from Jameson, you seem to lose all its meaning, its force, its gestural value. As with other figures in the Western Marxist tradition–most notably Theodor Adorno–the very notion of secondary literature thus becomes intensely problematic: the critic must manage to acknowledge the inconsumable nature of the text while at the same time consuming it for his or her own purposes. And, as also with Adorno, no thoughtful reader can deny, even in the midst of these obstacles to paraphrasis or assimilation, the formidable agitation, depth, insight, and provocation of the writing. Indeed, the underlying appeal of Jameson’s work, at a time when synchrony and surface predominate–a time, in other words, that no one has theorized more adequately than Jameson himself–might well be one final glimmer of the essential redemptive promise of Marxist culture-criticism. Somehow, almost despite itself, each one of Jameson’s books tempts the reader even while inevitably proving too testing, too damn high-handed, too beautiful for its own good.

     

    No doubt this all sounds faintly ridiculous to analytical Anglo-American ears. Straight-talking–the markets hate uncertainty–can surely get the job done. What place might Jameson’s texts, packed full of qualifiers, pitfalls, reversals, subordinations, find in the world of just-in-time delivery? The answer is: a rather small one. To those who have no time for Jameson, one can only reply, with heavy heart, that Jameson’s writing might at least inform them why they have no time for it; certainly one can agree with Helmling when he says that the “smallest of Jameson’s detractors–the ones, say, who establish a ‘bad writing’ contest for the express purpose of annually awarding him the first prize–need not detain us” (143). It seems more appropriate to acknowledge Perry Anderson’s assessment of Jameson: “we are dealing with a great writer” (72). But this itself must be radically contextualized by Jameson’s own frequent assertions that the time of the daunting modernist styles, the great auteurs, has passed. What might underlie the dizzying interplay of intellectual cross-currents in such a situation?

     

    At the very least, we have come a long way from Jameson’s early Marxism and Form, whose conclusion remarked that even “if ours is a critical age, it does not seem to me very becoming in critics to exalt their activity to the level of literary creation, as is loosely done in France today” (415). Later, in his 1982 Diacritics interview, Jameson remarked that while

     

    I don’t share the widely spread and self-serving attitude that today criticism and theory are as “creative” as creative writing used to be, still there is the private matter of my own pleasure in writing these texts; it is a pleasure tied up in the peculiarities of my “difficult” style (if that’s what it is). I wouldn’t write them unless there were some minimal gratification in it for myself, and I hope we are not yet too alienated or instrumentalized to reserve some small place for what used to be handicraft satisfaction, even in the composition of abstract theory. (88)

     

    The much more recent The Cultural Turn, however, casts matters in an altogether different light: the difference between creation and criticism is merely an “old anti-intellectual distinction,” which casts only a “dreary light” on our present situation (85). One of that volume’s most powerful essays, “‘End of Art’ or ‘End of History’?,” argues that “theory emerged from the aesthetic itself, from the culture of the modern” (85)–a phrase that one can imagine functioning in the future as yet another Jamesonian sound-bite–so the transferral of creative energies from one to the other, particularly in those theorists such as Barthes and Derrida (not to mention Jameson himself) whose writing is calculatedly stylized in ways that suggest modernist experimentation, turns out to be much more significant than the younger Jameson once expected.

     

    Not everyone would accept the supposed narrowing of this gap between criticism and creativity, of course. But regardless of whether this theory is at all convincing, it does at least point back to one of Marxism and Form‘s most persistent themes, namely, the difficulty of dialectical thought. In that early study, the links between criticism and its object were typically construed so as to allow dialectical thought its intransigent, challenging resistance as a corollary of the inherent contradictions of its objects. This resistance was designed to highlight the possible ideological function of much bourgeois criticism, with its “anaemic transparency” (in Terry Eagleton’s words [68]), but it was also quite specifically deployed against the frictionless surfaces of Anglo-American contemporary cultural experience–“a dream world of artificial stimuli and televised experience,” to quote Jameson’s prescient, almost Baudrillardian phrase (Marxism and Form xviii). Another of Jameson’s most evocative sentences from Marxism and Form‘s memorable preface puts this in rather more physical terms: “real thought demands a descent into the materiality of language and a consent to time itself in the form of the sentence” (xiii). It is ironic that Jameson himself thus offers the most persuasive analysis of the effects of his own texts, for there can be no better way than this to conjure up the aching appeal of Jameson’s books in situations far more unreal than was ever the case in 1971; faced with the essential triviality of contemporary Anglo-American life, each of Jameson’s volumes tempts us cruelly with promises of a redemption for which few have time or a care. How many people do not toss Postmodernism aside (no mean feat!), turning instead to the cherry-picking anthologies which really are “intended to speed the reader across a sentence in such a way that he can salute a readymade idea in passing” (Marxism and Form xiii), wondering why this pretentious stylist could not say what he has to say in a fraction of the space, and without constructing such a trenchant, brick wall of knowledge–the brusque authority of style itself, with all its gnarled roots and branches?

     

    This, at least, is one possible and probably frequent reaction to Jameson’s writing–that is, according to Helmling, the “not uncommon view that Jameson’s work is important despite the turgid writing” (146-47). Helmling’s survey of Jameson’s work and achievement foregrounds in what seems to be a wholly novel manner the centrality of Jameson’s writing to his critical enterprise, and claims with considerable justification that such readings as I have here caricatured are “failed reading[s] altogether, and of a peculiarly ironic sort.” For

     

    Jameson himself insists that “dialectical” writing itself must be the measure and the authentication of any project of critique, and to miss that–not as a talking point but as the very quick and shudder of the experience of reading Jameson–is to miss very nearly all. (147)

     

    This “quick and shudder” must surely be some logical descendant of the dialectical shock explicated so warmly in Marxism and Form. Helmling, however, takes this effect further and demands it of critical responses to Jameson just as it is a feature of Jameson’s critical writing.

     

    What Helmling proposes here is not a kind of endless dialectical torture, or undue critical agitation or difficulty for the mere sake of itself: instead, his study manages cogently to explain why such responses cut straight to the heart of the Jamesonian matter. Central to this is what Helmling terms the dialectic of the scriptible: this familiar term of Barthes (from S/Z) originally designated those types of text whose very writing invited, encouraged, or forced the reader into a creative role of actually producing the text while reading it, as opposed to the more consumable lisible text, one written to read itself, as it were (Helmling 22-3). Helmling shows how Jameson subtly transfers the meaning of scriptible from that of reading to writing; so in Jameson, the scriptible comes to designate “sentences whose gestus arouses the desire to emulate it, sentences that make you want to write sentences of your own” (“The Ideology of the Text” 21), or as he puts it in Signatures of the Visible, “Barthes thought certain kinds of writing–perhaps we should say, certain kinds of sentences–to be scriptible, because they made you wish to write further yourself; they stimulated imitation, and promised a pleasure in combining language that had little enough to do with the notation of new ideas” (2). The scriptible thus foregrounds the sentence and the style which is manifested in–as well as created by–such sentences. In such a way do we begin to read off from a writer’s semantic units the fundamental historical marker–style–through which the various contradictions of a moment will be agitated, repressed, or dealt with in any number of ways.

     

    This, then, is something like Jameson’s use of the notion of scriptible, and one which, as Helmling points out, is far from the more fashionable ideas of intertextuality or the heavily aestheticized écriture. It should be quite obvious that the scriptible is thus, for want of a better mode of description, a way in which dialectical criticism can, literally, get close to its objects–and, remembering Marxism and Form, work through the insights of various “competing” theories before subsuming them in some larger body of thought that can adequately theorize both their advantages and their limitations. And as Helmling notes, in Jameson’s study of Sartre,

     

    “style” finally means something like the total meaning or (better) the cumulative authorial “gestus,” the characteristic movement, the (as it were) authorial carriage, the verbal body language, of an oeuvre–a way of conceiving literary labor (and success) rooted in the thematics of the writer as culture-hero, a producer of “works”–indeed, in all its most fully-blown romantic/modernist senses, an “author.” (24)

     

    So the scriptible does not imply a sell-out in the face of the various slogans proclaiming the death of both authors and even subjects; in fact, Jameson purposefully refashions it into a much more nuanced tool, one that is fundamental to the dialectical method.

     

    But the scriptible is, to be sure, some kind of measure of influence, although (as Helmling cautions) it works in no simple causal manner: compare, for instance, the very different mannerisms of Barthes and Jameson: “no particularity of Jameson’s verbal style or mannerism would ever ‘remind’ anyone of Barthes” (25). And it clearly does not measure ideological influence or sympathy, since Jameson has written with considerable brio on Wyndham Lewis (a study subtitled “The Modernist as Fascist”), and he has retained throughout his career an interest in Heidegger, even going so far as to admit having “some sneaking admiration for Heidegger’s attempt at political commitment, and find[ing] the attempt itself morally and aesthetically preferable to apolitical liberalism (provided its ideals remain unrealized)” (Postmodernism 257)–a statement that truly makes one blink, even if its sentiment–the value of commitment over hands-off liberalism–is familiar enough. Instead of simple homage, the scriptible seems often to be prompted by and to entail difficulty: the figures to whom Jameson is attracted are often, especially in his earlier writings, authors whose work is calculatedly impenetrable, from Heidegger to Lyotard, from Deleuze and Guattari to Lacan (Helmling 26). The sheer effort that these writers’ prose demands becomes a style that Jameson’s work will also deploy.

     

    Evidently, however, the scriptible as a mode of criticism, even when “successfully” executed, risks failures of various kinds. The most signal of these is the implication that such a writerly style may be regarded as mere ornament: hence the possible view that Jameson is profound despite his style. Another of the more obvious ways in which such a criticism might fail is by its reversion to a mere promotion or evocation of textuality, the sort of aestheticizing mentioned earlier that might aim to distort the underlying contradictions that motivate the text’s form, or even to bracket them (and reality) altogether (Helmling 27). More damaging still is what Jameson calls “thematization,” by which it seems he means the sort of undialectical analytical habits so beloved of Anglo-American intellectuals, whereby positions are briskly summarized with none of the hard graft of Jameson’s laborious workings, which typically give opponents their due. In other words, the resistance to thematization is closely related to a resistance to commodification in particular and mystification more generally–and with this we begin to see that the entire problematic is ultimately that of reification itself.

     

    These are some of the ways in which critical practice might fail in its pursuit or cautious emulation of a scriptible; Helmling, however, adds to these by considering the particular styles of Barthes and Adorno, two of Jameson’s most important influences. From Barthes it is clear that style itself can become a Sartrean piece of historical baggage, merely a marker of the guilt that literature brings with itself. Barthes’s notion of white writing, an ascetic, style-less style, is one attempt to renounce this guilt or at least deal with it in some way that remains utopian; but such a style cannot be hypostasized, and sooner or later it falls beneath the feet of history to be imprinted with the stamp of its own distinctive moment. What had been a utopian gesture is gradually estranged, in the Brechtian sense, to become just another stylistic convention among others. Adorno, however, is a very different matter: he does not express utopian thoughts so openly, even where they scar and bruise the skin of his texts. Here the question of failure is asked with troubling urgency, and the failures themselves are asserted “so potently that even the most ‘numbed’ or conscienceless reader cannot help [feel] their sting” (Helmling 37):

     

    some kinds of “success”–the kind likeliest to be acclaimed as such by the dominant culture apparatuses–are of interest only as symptoms, if they aspire to no more than a facile manipulation of audience responses; whereas some kinds of “failure”–what the culture apparatuses ignore or shrug off–achieve something more dialectical and authentic precisely because (or to the extent that) they eschew such easy aims to probe, to force themselves up against, the limits of the possible itself. . . . The truest “success” . . . results from a calculated, deliberate, and self-conscious embrace of failure–though that way of putting it (indeed, any way of putting it that so baldly uses the word “success”) risks seeming to have mistaken the point of the exercise. (Helmling 39)

     

    Criticism cannot free itself from the problems of ideological failure or the guilt inherent in art, even if Barthes thinks that “literature itself just might” (Helmling 43). In this way the dialectic of the scriptible is really a rewriting of what Jameson (in The Political Unconscious) calls the dialectic of utopia and ideology, the way in which utopian visions are perpetually challenged by their propensity to dissolve into ideology. But as Helmling notes in a marvellous passage that radiates signs of its author’s own attraction to Jameson’s scriptiblesentences,

     

    Jameson’s own writing re-enacts the exemplary failures he identifies in Barthes and Adorno, thereby securing (or “emulating”) some measure of the success he praises them for. That is, there is an emancipatory leavening of “linguistic optimism” in the scriptible that can enact necessity and failure, yet still attest at least some (utopian) possibility of their being overcome. Hence the excitement of Jameson’s early prose: it can project a failure imperative so bracingly as to seem to loosen its strictures. Those labyrinthine sentences, zigzagging between qualifiers and hedges, subordinations and sub-subordinations, feeling their way as if to a period not foreseen when the sentence began, whose surprises prompt fresh departures in their turn, enact the obstacles, limits, or contradictions they pursue and confront, but also, paradoxically, suspend or “neutralize,” ad lib., some of the law-like force of those very contradictions and limits that ought to have proscribed such suspensions or neutralizations in the first place. (45)

     

    From difficulty, in other words, comes a faint glimmer of redemptive light.

     

    All of this changes as postmodernism gradually comes onto the scene. Helmling argues that the earlier stoic and tragic style gives way to something that feels very different: “the prose remains as allusive and inward as ever, but with an affective charge much larger and more accessible, more immediate (in the colloquial sense) than before” (122). Anyone who has read Marxism and Form will immediately notice the very different texture of the famous essay on postmodernism (Postmodernism 1-54), over whose surface it is so much easier to skid (which presumably accounts to some extent for the essay’s wide dissemination). In fact, the Postmodernism book is arguably anomalous in Jameson’s output: there is simply nothing like it, barring perhaps The Cultural Turn. That the Postmodernism book is something of a one-off as well as simultaneously the volume through which many people first encounter Jameson should give us pause: one wonders how many people have an inaccurate or inadequate appreciation of Jameson as a result. But regardless of the different feel of Postmodernism, it is still characteristically difficult, even if it deploys that difficulty in different ways. In fact, Helmling claims convincingly that, once again, we have to read the difficulties as part and parcel of the writing of the criticism itself. So whereas in the early works the dialectic of ideology and utopia loomed large through a scriptible that retained hope, however faint, of redemption, in Postmodernism the possibility of this redemption has gradually faded, even though it is more or less explicitly a theme of the closing sections of both the famous essay and the book’s huge conclusion. This situation is foregrounded by the problem of textual determinism, by which is meant the power of theoretical models to become so compellingly total as to bludgeon the reader into a submission from which no resistance can emanate. In Jameson’s elegant formulation,

     

    it is certain that there is a strange quasi-Sartrean irony–a “winner loses” logic–which tends to surround any effort to describe a “system,” a totalizing dynamic, as these are detected in the movement of contemporary society. What happens is that the more powerful the vision of some increasingly total system or logic–the Foucault of the prisons book is the obvious example–the more powerless the reader comes to feel. Insofar as the theorist wins, therefore, by constructing an increasingly closed and terrifying machine, to that very degree he loses, since the critical capacity of his work is thereby paralyzed, and the impulses of negation and revolt, not to speak of those of social transformation, are increasingly perceived as vain and trivial in the face of the model itself. (Postmodernism 5-6)

     

    The very status of totalizing dialectical thought is plagued by anxieties of a slightly different kind from the ones that haunt the dialectic of ideology and utopia. But it is also possible to read this passage as a moment of searing candor in which we see the doubts Jameson has about the sorts of theoretical models he himself constructs. For there is a take-it-or-leave-it terseness about some of Jameson’s early theorizing (not that he would see it that way: for Jameson, one can only “leave” dialectical problems at the cost of rediscovering them later), particularly in that unconvincingly worded moment when he argues that the pleasure of (Adorno’s) dialectical thought is “not . . . a question of taste, any more than the validity of dialectical thinking is a question of opinion; but it is also true that there can be no reply to anyone choosing to discuss the matter in those terms” (Marxism and Form xiii-iv). In light of this, the hesitation in the essay on postmodernism can be read as a revealing moment of equivocation.

     

    As Helmling realizes, this theoretical impasse becomes extraordinarily tense, even as its working-out provokes ever more supercharged Jamesonian writing. By the time “The Cultural Logic of Late Capitalism” is assembled, an important change has occurred, however, in which fairly suddenly the problems have been found to be figurable in a way that leaves some space for the theorist to enjoy himself. This moment of ease is, I should hasten to add, comparative; the book on Postmodernism is still a challenging read, but some of it is a good deal less difficult than the contemporaneous Late Marxism, Jameson’s book-length study of Adorno. Some passages in Postmodernism even present a level of private reflection that Jameson has, with career-long discipline, normally eschewed–notably his comments on his friend and former Yale colleague Paul de Man, but also his remark that he writes as “a relatively enthusiastic consumer of postmodernism, at least of some parts of it” (298).

     

    Helmling reads this momentary relaxation as a corollary of Jameson’s discovery of the notion of the sublime as a suitable representative/unrepresentable figure for postmodernism. At a time when the possibility of critique is seemingly problematized as never before–not just because of the abolition of critical distance, but also because of the hesitancy over totalizing theoretical models–Jameson turns to the very dynamics of representation itself to dramatize the dilemmas posed by the transition into what he calls full postmodernism (Helmling 107-10). As the sublime is re-motivated as the unfigurable networks of global capitalism, the resultant conspiracy-theory-like schizophrenia (in its poststructural sense) marries off our dread and foreboding with a most unlikely Jamesonian idea: relief. As he himself writes, “I think we now have to talk about the relief of the postmodern generally, a thunderous unblocking of logjams and a release of new productivity that was somehow tensed up and frozen, locked like cramped muscles, at the latter end of the modern period” (Postmodernism 313). Quite apart from this description, conspicuous enough in its use of the word relief to characterize a period of ever more systemic capitalism, postmodernism becomes ever more difficult to figure because it completes the movement of modern theory away from meaning (Helmling 115-6).2 Indeed, using the sublime as a way of theorizing the postmodern actually reinscribes one of Jameson’s earlier problems, namely, how to interpret the unrepresentable (Helmling 118). Failure again of a familiar sort, then, but one that points back toward The Political Unconscious, with its Althusserian placement of history in some realm beyond knowledge–with all the Lacanian and Kantian resonance of the ultimately unknowable. As Helmling argues, the great metaphysical spin-offs of these concerns seem all the more meaningless in a world that is so outwardly unconcerned with sublimity; to quote one of his purpler patches once again,

     

    this globally oppressive atmosphere of muzak and of bar-codes, of transnational designer logos as legible “fashion statement” or willing self-commodification, of smiley-faces and franchiser’s manual courtesies, where shopping is the only leisure activity there is, and for increasingly large numbers of people, the only leisure activity they are “good at”–how to make the narcosis of such a commodity-scape interesting at all, let alone juice it up with the excitements of “the sublime”? . . . Alas, “boredom” and “waning of affect” seem rubrics all too adequate to the postmodern vécu. (116-17)

     

    If this historicizes Jameson’s sublime, then the sheer unlikeliness of the sublime’s use only makes Jameson’s deployment of it that much more devastating; and it is in this highly distinctive embrace of the motif of the sublime, however brief, that some of the postmodernism essay’s longevity is surely founded.

     

    One other way that the sublime might be invoked in a discussion of Jameson’s style, however, is from the standpoint of the reader (Helmling 122). The totalizing dynamics of dialectical thought continually shift us to ever-widening horizons;

     

    the moments are quite frequent in Jameson when the reader can feel engulfed by the threatened onset of an ideational congestion, a cerebral meltdown or synaptic overload, a sense of argumentative threads and suggestions, themes and variations, multiplying beyond any hope of keeping track of them, an intellectual levitation at once exhilarating and daunting, illuminating and befuddling. (Helmling 122)

     

     

    Difficulty remains, as do the dialectical shocks, and it might be revealing to juxtapose the persistence of this difficulty with a couple of remarks made by Jameson in his 1982 Diacriticsinterview. When Leonard Green notes that “one feels at times to be pushing against an almost encyclopaedic accumulation of knowledge in your work,” Jameson replies:

     

    I’m in a poor position to judge the difficulty of my own work or to defend its stylistic qualities, particularly since with more time and work no doubt even the most complicated thoughts might have been made more accessible. If one defends difficulty a priori (as I have allowed myself to do occasionally), this can be taken as an ominous pretext for all kinds of self-indulgence. But in a general way (and leaving myself out of it), it is always surprising how many people in other disciplines still take a relatively belle-lettristic view of the problems of culture and make the assumption, which they would never make in the area of nuclear physics, linguistics, symbolic logic, or urbanism, that such problems can still be laid out with all the leisurely elegance of a coffee-table magazine (which is not to be taken as a slur on high-class journalism, of which we have little enough as it is). But the problems of cultural theory–which address the relationship between, let’s say, consciousness and representation, the unconscious, narrative, the social matrix, symbolic syntax and symbolic capital–why should there be any reason to feel that these problems are less complex than those of bio-chemistry? (Green, Culler, and Klein 87-8)

     

    Jameson himself appears to speak of difficulty here in the accessible rhetoric of the higher journalism. And yet, it is notable that even in this comparatively simple reply we may discern a whole nest of assertions and counterclaims: one begins to wonder on what level difficulty is to be shunned in favor of clarity; or whether the latter must always be regarded as too naïvely utopian, too easily programmed to the logic of the sublime system of late capitalism.

     

    Helmling has an answer for this and several related questions, but it is one that is more provocative than the rest of his study, and it latches onto the change in the assessment of theory’s creativity with which I began this discussion of Jameson’s style. For there is in Helmling’s view a further change in Jameson’s style after Postmodernism. In essays such as “The Existence of Italy” (Signatures of the Visible 155-229), “The Antinomies of Postmodernity” (The Seeds of Time 1-71), and particularly the powerful “‘End of Art’ or ‘End of History’?” (The Cultural Turn 73-92), the largely Hegelian-Marxist concerns of the earlier work return in all their glory, branded anew, or so the postmodernist might imagine. It will be clear that this return is nothing more than a resurfacing of career-long concerns, and that even “The Cultural Logic of Late Capitalism” never constituted a very sharp departure, much less any sort of repudiation. All the same, there does seem to be a marked change of emphasis in the work of the 1990s, from Late Marxism onward. Specifically, Helmling explains this as a return “to the supposedly retro interests (Hegelian, Marxist, phenomenological) that Postmodernism had seemed to downplay or eschew” (138). But there is something else that has dropped out of Jameson’s writing, in Helmling’s opinion–something that has once again freed Jameson’s criticism from its earlier tragic accents: namely,

     

    the inexorable “winner loses” logic of “inevitable failure” that Jameson in The Political Unconscious posited as the necessary condition, the specific “vision” incumbent upon “dialectical historiography” as such. (142)

     

    What has gradually become less and less visible has been the Adornian constraints that seemed to charge critical writing with a necessary failure. Instead of this deadlock, Jameson has been able to substitute a

     

    discussion able to proceed with evident confidence in the programs it proposes for itself, the ambitions it entertains, the desires it hopes to realize, operating in the process a renewal of the genuine utopian potential of “the sublime” and of sundry other critical projects or “desires”–including not least that generic hybrid, or hubristic genre, where critique aspires to sublimity, in “theory” itself. (142-3)

     

    Later on it becomes clear just how important this rapprochement with theory is:

     

    It is customary these days to deplore criticism’s vainglorious usurpation of the privileges properly attaching to “literature,” but, our well-advertised “information glut” notwithstanding, just what “literature” is there, these days, for people like us to read? . . . for me it is a simple statement of fact that “the way we live now”–or at least the way some of us read and (try to) write now–becomes actually exciting almost nowhere else than in the writing of a very few highrolling superstar professors. . . . for a few centuries now our culture has produced a minority audience that hungers to see the challenges of its own time written about in relevantly challenging ways. The greats of the past are still great, but they are not our greats. Nor is there any question of Derrida being “as great” as Joyce, or Goethe or whomever; it is rather that the sort of intellectually ambitious reader who sought out Joyce or Goethe in their day is the sort of reader who today will find the challenges of Derrida or Jameson more demanding, the difficulties more difficult in pertinently “contemporary” ways, the rewards proportionally more complicatedly satisfying, than those of Don DeLillo, Toni Morrison, or–who you will. (Saul Bellow?) (147-8)

     

    I have here indulged Helmling’s own indulgence (as he himself describes it [148]), partly because it is moving and revealing on its own terms, but also because it poses interesting questions about (and of) criticism and theory. It is quite obvious when reading The Success and Failure of Fredric Jameson that Helmling must surely have intended to finish at this point: the ending of the “Jameson Post-Postmodernism” chapter is saturated with closural elegance, winding up his lucid study with a slightly more personal assessment of Jameson’s writing than at any other place in the book. But as Helmling admits in his coda–“Beyond Success and Failure”–his closing of the book was continually problematized by Jameson’s continuing productivity. It says much for Helmling’s ideas that they can so easily be tweaked to accommodate Jameson’s recent study Brecht and Method, which exhibits a style somewhat different from that of most of the rest of his oeuvre. But the coda nevertheless sits rather uncomfortably next to the grand claims quoted above, and it is to these–to theory’s hubris–that I shall now turn.

     

    Helmling’s Failure?

     

    A study, then, that begins by remarking that the “American cultural system affords its intellectuals no eminence of prestige and controversy comparable to that of Derrida in France, or Habermas in Germany” ends up by elevating Fredric Jameson to this premier status, albeit–thankfully?–without igniting any real controversy along the way (1). In doing this Steven Helmling has produced a major piece of interpretative literature on one of the foremost intellectuals of our time, and even those who mock and mimic the verbal contortions of contemporary literary criticism would admit that this study employs such a language with no little style of its own. For that we can all be more or less grateful; but in broader terms the study, pleasurable and successful as it is, seems to want to be included within the ambit of its own concerns: in Helmling’s terms, it is as if his own scriptible text is a peculiarly reflexive one, much as he judges Jameson’s achievements by the very terms on which Jameson conducts his work and writes his texts. And with this concern we are propelled onto perhaps an inevitable but also one of the most pressing terrains of all, at least for Marxist intellectuals: the tortuous relations between theory and practice.

     

    The problems revolve primarily around Helmling’s conclusion. Here, it will be recalled, Jameson is seen as offering the type of difficult experience that it was formerly the business of the greatest writers to provide. This argument–that the difficult theory that swept over the Anglo-American world in the 1970s and 80s is the place to which “high” artistic creativity ultimately migrated–is certainly not implausible. Indeed, in “‘End of Art’ or ‘End of History’?” it is deployed by Jameson himself. But while I do not wish to dismiss the argument, it seems to me that in the very way he presents it Helmling invites strong challenge. And there are, I believe, some respects in which defending difficult theory on the grounds of its aesthetic creativity may ultimately be incompatible with the aims of a truly radical criticism.

     

    There would seem to be at least four lines of challenge, all of them certainly interrelated, but each with slightly different emphases and concerns. First of all, one might challenge the sheer self-serving hubris of such a position. It must be reassuring to learn that one is working on the deepest thinkers of the age; and since, as a salaried academic, one is paid to teach and explicate this great material, one’s own validation of it becomes implicitly a validation of one’s own admittedly subordinate status. Of course, we all need to convince ourselves in various ways that what we are doing is worthwhile and constructive; but when working on someone like Jameson, few people, perhaps nobody at all (Perry Anderson excepted), would reckon themselves able to evaluate the claim that he is one of the great writers of our age, so an element of circularity creeps into the position of the critic who is simultaneously one of the few people to designate him as worthy of study and one of the few people actually qualified to study him. But this is only one cynical view of a much bigger problem, which is a return of all sorts of issues that tend to get designated as modernist rather than postmodernist. The elevation of Jameson’s difficulty, something that feeds the needs of the eminent intellectuals of our age, seems to ensure that he remains a minority pursuit, not least because if we follow Helmling, then to sweep away the difficulty in Jameson would be to miss the point and merely fall victim to the various paradigms of clarity or thematization that Jameson’s prose intransigently sets itself against. To caricature the situation (but certainly not Helmling’s own position), it is my dialectical brilliance versus your reified ignorance; that is why I see this stuff as wonderful dialectical prose, whereas you find it turgid nonsense. And since I have already realized that this writing is the most profound intellectual challenge of the age, what does that say about you?

     

    These are not new intellectual issues and I raise them not because one must accept them as the final word on the value of theory, but merely because they seem to cause ripples in all sorts of unexpected places. The sort of status that Helmling wants to accord to Jameson seems to be the very plausible accolade of being a great thinker. But since the Jamesonian text sets itself so resolutely against any form of mass consumption, to recognize that he is a great thinker seems to elevate him to the position of the academic high-priest who alone can see clearly to the contradictions of the age. Seeing as we are ultimately dealing with a seminal theorist of postmodernism, that sticks in the throat somewhat: has so little changed? Or is the position of the theorist one of the remaining vestiges of modernism in the new era of the postmodern? What would a postmodernist theory of postmodernism look like?3 (The question is surely valid, because earlier on it seemed as if Jameson’s “The Cultural Logic of Late Capitalism” was not just a theory but also an exemplar; clearly this now seems more questionable.)

     

    To say this, however, is to garnish a modernist position with a healthy dollop of avant-garde problematics: would mass dissemination of Jameson risk its status? But mass dissemination is as good as impossible (unless dialectical thinking suddenly stages an unexpected resurgence in its popularity), since if it happened, one would simply claim that the theory had been commodified, thematized, separated from the way in which it is expressed, and so on. Theory quite clearly does not risk that sort of popularity, but it does risk the relative popularity of a wide dissemination within the academy. So do we simply see here a recapitulation of the problems of certain anti-institutional movements, whose success rests on their very failure and obscurity, rather than canonization and elevation to the status of institutional doctrine? Perhaps the one thing that could really dent the radical edge of Jameson’s theory would be the type of academic hysteria that has attached itself to figures such as Derrida–and this is presumably why there has been so much righteous anger from the left that the revolutionary aspects and indeed foundations of much of Derrida’s own work were quietly removed in the course of its American reception and translation (Eagleton 52-3). Seen in this way, the notion of scriptible serves its masters well, since it ensures a transferral of difficulty and close dialectical reading to one’s own criticism (for which few have time or patience), while at the same time designating it as the master key to Jameson’s work.

     

    So at length we arrive at the inevitable question: what has this theory achieved? What might it achieve? The pragmatic argument, addressed by Helmling, might “blow the whistle” on the whole affair and simply see it as melodrama, because Jameson has enjoyed institutional privilege in a distinguished academic career (125). This, as Helmling notes, can be easily answered as a far too simple acquiescence in “the reifications of a system that, in other precincts of its operation, daily inflicts, on a mass scale, violences for which Prometheus’s torment is if anything too soothing a figure” (125). But this answer is as unsatisfactory as it is compelling: we simply arrive at notions of reification and false consciousness that are always, for a rather vulgar Marxism, going to win the argument, since not to realize this is to fall victim to the problems they solve. In other words, we have clambered, I hope dialectically, onto the untranscendable horizon of Marxist theory itself, which will not go away no matter how familiar or tediously inevitable it seems. Difficulty runs through this field as surely as blood pumps through our veins: “difficult texts, difficult issues, difficult problems, a (very) difficult history, difficult political conditions, difficult rhetorical burdens–a dauntingly overdetermined multiplicity of ways, in short, in which Marxist critique might succeed or fail” (Helmling 3). Most pressing of these is surely the brutal question of what theory can do to change the world: some would argue, simplistically but not ineffectively, that if Jameson’s work has peered into and theorized the darkest corners of our contemporary cultural experiences, it might yet be time–for the acolytes, at least–to put down the pen and make the move from thinking about the world to actually altering it.

     

    Who could doubt that this is difficult and depressing? Like any revolutionary, Jameson utilizes the system he is opposing in order to defeat it (or at least to critique it); but when that system has triumphed so conclusively, when it can afford eminence even to those who are, basically, plotting its downfall, one is entitled to ask whether any of their efforts could be called successes. The bleakest alternative is the horrible thought that perhaps Jameson’s work has already been defused of its radical dynamite, softened and subsumed by the very system it has theorized so cogently. Yes, of course Jameson succeeds in the tortuous dialectical ways that Helmling says he does; but these successes seem to be undercut by the greater failure of Western Marxism. In the end, one cannot help but wonder whether this failure might not derive from the profound lack of accordance between academic theory and lived experience in the contemporary West, and whether the speculative daydreams of theory, institutionally viable though they undoubtedly still are, might be rather more proximate to our problems than to their solutions. To entertain such dismal questions is to confront a failure that is Jameson’s but, of course, not only his. As for “success”–whether institutional, theoretical, aesthetic, or otherwise–to speak undialectically of that would be sheer delusion, the mark of a failure altogether more serious than that of the scriptible.

     

    Notes

     

    1. The principal texts are those by Homer, Anderson, Burnham, and Roberts.

     

    2. The “contradiction” here is obviously the ideological effect of the postmodern: the theory both encapsulates and describes the predicament, a choice raised by Jameson himself in the book’s preface (Postmodernism x).

     

    3. Clint Burnham’s study, The Jamesonian Unconscious, might well be taken as an answer to this question.

     

    Works Cited

     

    • Anderson, Perry. The Origins of Postmodernity. London: Verso, 1998.
    • Barthes, Roland. S/Z. Trans. Richard Miller. Farrar: New York, 1974.
    • Burnham, Clint. The Jamesonian Unconscious: The Aesthetics of Marxist Theory. Durham, NC: Duke UP, 1995.
    • Eagleton, Terry. “Fredric Jameson: The Politics of Style.” Against the Grain. London: Verso, 1986. 65-78.
    • Green, Leonard, Jonathan Culler, and Richard Klein. Untitled interview with Fredric Jameson. Diacritics 12:3 (1982): 72-91.
    • Homer, Sean. Fredric Jameson: Marxism, Hermeneutics, Postmodernism. Cambridge: Polity, 1998.
    • Jameson, Fredric. The Cultural Turn. London: Verso, 1998.
    • —. “Globalization and Political Strategy.” New Left Review 4 (2000): 49-68.
    • —. “The Ideology of the Text.” The Ideologies of Theory. London: Routledge, 1988. 17-71.
    • —. Marxism and Form. Princeton: Princeton UP, 1971.
    • —. “The Politics of Utopia.” New Left Review 25 (2004): 35-54.
    • —. Postmodernism, or, the Cultural Logic of Late Capitalism. London: Verso, 1991.
    • —. The Seeds of Time. New York: Columbia UP, 1994.
    • —. Signatures of the Visible. London: Routledge, 1992.
    • —. A Singular Modernity. London: Verso, 2002.
    • Roberts, Adam. Fredric Jameson. London: Routledge, 2000.

     

  • Identity Poetics? or, The Norton Anthology of Modern and Contemporary Poetry

    V. Nicholas LoLordo

    Department of English
    University of Nevada at Las Vegas
    lolordov@unlv.nevada.edu

     

    Review of: Ramazani, Jahan, Richard Ellmann, and Robert O’Clair, eds. The Norton Anthology of Modern and Contemporary Poetry.3rd ed. New York: Norton, 2003.

     

     

    Authors are the sentimental background of literature.

     

    –Laura (Riding) Jackson

     

    poets are retreating into–or is it out of?–academia, beset by the
    usual pit-bulls and well-meaning little old ladies in tennis shoes. And discovering
    and assimilating new bastions of indifference and comprehension. What else?
    That was some storm we had last week. The webs intersect at certain points where baubles
    are glued to them; readers think this is nice. What else? Oh, stop badgering–
    where were you in the fifties?

     

    –John Ashbery, Flow Chart

     

    Ten years ago, in his long poem Flow Chart, John Ashbery surveyed the literary landscape with a mild surmise: so much for the poetry wars. Yet the critic can hardly afford to greet missionary zeal with this melancholy bemusement. The position of the academic anthologizer is still more difficult. It has long since become common knowledge that the “anthology wars” (marked by the appearance of Donald Allen’s 1960 anthology The New American Poetry and Hall, Pack, and Simpson’s New Poets of England and America) divided American poetry into two armed camps. (A recent update on this tradition of conflict is provided by Marjorie Perloff’s “Whose New American Poetry?: Anthologizing in the 1990s.”) John Guillory’s work on canon formation assumes the university literature department to be the institutional locus of canonization, but to my mind such a claim becomes increasingly untenable in the post-WWII U.S. poetry scene, where the aforementioned anthologies, among others, testify to the co-presence of academic canons and anti-academic poets’ canons, a pairing best seen in the context of various related sets of polemic adversaries from the recent literary past: Beat vs. academic, raw vs. cooked, margin vs. mainstream, and so on.1 Given this history, a basic problem remains for any teaching anthology published in 2003 that seeks to encompass the past century’s poetry: on the one hand, its own institutional frame is academic; on the other, it must acknowledge contemporary poetry’s foundational narrative of division, this blesséd or curséd break, seeking to contain (in both senses of the word?) both sides within its bipartisan pages. Jahan Ramazani seems to meet the challenge head on: he opens the second volume of the new Norton Anthology of Modern and Contemporary Poetry with substantial selections from Elizabeth Bishop and Charles Olson, a pairing straight from central casting. Olson’s harpoon, Bishop’s bit of ivory: the lady, in the role of minimus, gets more pages.

     

    A prefatory observation: in what follows, I’ve chosen to neglect the question of cuts. Even a not entirely cynical critic might believe, with Marianne Moore, that “omissions are no accident,” while noting that they are also invisible to theory: the experience of classroom teachers is always invoked to explain them. We are more forthright about discovering neglected poetry of value than about discovering that what we once thought valuable no longer seems as necessary. The relative number of poets from Canada and Great Britain has dropped considerably in the latest Norton. (Writing, for this moment, as a Canadian, I note that Earl Birney, A.M. Klein, Irving Layton and Al Purdy have been expunged; P.K. Page, Margaret Atwood, and Michael Ondaatje remain; Anne Carson has been added.) This particular set of cuts might suggest that gender was an important factor; but other decisions I find arguable obey different logics. To name only one: Ramazani is unwilling to remove even relatively minor poets associated with the New Criticism or with the Movement–to name a few: Ransom, Tate, Winters, Penn Warren, Delmore Schwartz, Davie, Amis–poets peripheral to the revival of modernist studies in whom I can hardly think my own generation of university teachers is heavily invested.

     

    This newly revised Norton appears at a moment when “mainstream” poetry is marked by a bewildering heterogeneity, while questions of eclecticism, pluralism, rapprochement have been the subject of much debate at the “margins.” The entry of a number of writers identified with “Language-centered writing”–Lyn Hejinian, Bob Perelman, Barrett Watten, Charles Bernstein–into academic positions has been taken to mark the end of the movement as a cohesive avant-garde, yet in this “post-language” moment an oppositional understanding of the poetic field remains possible, as is indicated by, for example, the recent volume published by the University of Alabama Press, Telling it Slant: Avant-Garde Poetics of the 90s, which collects critical and polemical work by writers very few of whom at date of publication had a volume of poetry in print from an established press. (I note two exceptions, Elizabeth Willis and Juliana Spahr. The original publication dates of these pieces span the era between the 2nd and 3rd editions of the Norton, 1988-2002.) And these oppositional understandings–those associated with, to list the most commonly used terms, radical innovative, experimental, or avant-garde practice–typically seek to legitimate themselves through readings of modernist tradition.

     

    But such binaries can seem increasingly quaint, relics of the Poetry Wars–a battle that, as Jed Rasula has observed, anthologizers continued to reenact, as if in period dress, into the 1990s. The new Norton gives U.S. Eliot’s modernism carried on by Tate, Schwartz, and Lowell side by side with the modernism of Stein carried on by Zukofsky, Bernstein, and Hejinian; whether we speak of the modernisms of metaphor and of metonymy or of Symbolism and Objectivism, it would appear that both sides are fairly accounted for. Indeed, the book’s treatment of modernism registers as one of its most significant corrections. Added to the first volume of this new edition are Mina Loy, Charles Reznikoff, Laura (Riding) Jackson, Lorine Niedecker, Louis Zukofsky, George Oppen; the acknowledgment of experimental modernist registers–along with English-language modernist writing outside of the U.S., Britain, and Ireland–constitutes the revision’s primary accomplishment. But what is the position of this text, within the poetic field I’ve roughly sketched out? To whom does it speak?

     

    Here, I will argue, the book’s selection of contemporary poets is of particular significance. For literary academics, the brand “Norton” and canonicity are synonymous; each published sigh or murmur of dissent, it might be argued, only confirms this status. Oxford’s recent set of anthologies of modern poetry (Cary Nelson’s American and Keith Tuma’s British and Irish) lays claim to much the same terrain, but the new Norton attempts to cover the entirety of English-language poetry since modernism. This should be seen in the context of Anglo-American modernism’s decline as a category–Norton both occupies this declining place and revises it. Another apparently fading category, at least within discussions of poetry and poetics, is instanced by a volume now almost ten years old, Paul Hoover’s Postmodern American Poetry: A Norton Anthology. Note the properly postmodern indefinite article, which attempts to finesse the awkward fact that there is only one Norton anthology of such poetry! “From the modernism you want,” observed David Antin in a remark often quoted, “you get the postmodernism you deserve”; but the implicit abandonment of the latter concept by the Norton suggests that such teleological claims about literary history have been shelved: from a still-ideologically charged “modern,” we move to a neutral “contemporary.”

     

    Which is not to say the anthology tries to be apolitical. The Norton now for the first time registers a meeting between postcolonial studies and twentieth-century poetry. Its first edition represented poetry from the U.S., Britain, Ireland, Canada, Australia, and New Zealand; to the work of Derek Walcott in the 2nd edition, the 3rd edition adds poems of other English-language poets–African, Indian, and Caribbean (ten in all). In his preface, attached to both volumes, Ramazani summarizes the anthology’s mission: to present “an international vision of modern and contemporary poetry in English …. many key poets of the 20th century led migratory lives …. Like these transnational lives, literary influence has … continually crossed national boundaries, so that much modern poetry is transatlantic, and much contemporary poetry is in its bearings global.” A qualification follows: “Not that this anthology aims to give equal representation to every anglophone nation. Produced in the United States, its center of gravity is American” (1, xxviii).

     

    This last phrase is intriguing. Certainly, the book’s literary-historical imagination–as in the Bishop/Olson juxtaposition–tends to work with the myths of American poetry. But my concern is with the rhetoric of “representation.” For Ramazani’s disavowal of “equal representation” is puzzling. What would be the internationalist political source of this reference to every anglophone nation; in what geopolitical terms are all anglophone nations commensurate? The very strangeness of this denial of equal representation calls attention to a politics of comparative representation characteristically invoked not in international, but in American contexts. In other words, the metaphor calls up the paradigm we know as identity politics–a particularly American paradigm. I want to suggest that the 3rd Norton is in this sense doubly American-centered; if its selection is consciously weighted in favor of poets from the U. S., at the same time contemporary “American values” govern the anthology as a whole. (Nationality is after all a predicate of poets as subjects before it develops the complexly nuanced meaning that issues in a term like “American poetry.”) In its treatment of recent poetry, the new Norton embodies a particular version of academic leftism: identity politics, a doctrine, as Guillory has argued, itself related to the tradition of American pluralism. The anthology’s place of origin and intended market, the North American university, governs not merely the numbers of poets, but the very language of representation underlying anthologization.

     

    On one level this is hardly surprising: any overtly academic anthology will necessarily be governed by the representational logic of the academy. But if the dominant logic of the academy is pluralism, how do the pluralistic predicates of social identity interlock with poetic values? Poets exist for the anthology as subjects marked by the predicates of identity before they exist as the embodiment of any particular poetics. While the new Norton borrows a strategy from Allen’s anthology, that of including “poetics statements,” none of the younger American poets on whom I’ll be focusing have such statements included.

     

    Ramazani’s account of the priorities that motivated changes made in the current Norton reinforces this logic of identity. Three priorities are particularly relevant to my concerns: First, to “represent the accelerated globalization of English-language poetry in the second half of the twentieth century, particularly in the work of postcolonial poets who creatively hybridize indigenous traditions with British and American influences”; second, to “welcome into the anthology what John Ashbery has called an ‘other tradition’–experimental poetry by modern avant-garde writers…extending to the contemporary avant-garde”; third, “to present various modern and contemporary poets who have only recently emerged into prominence” (xxix). Different notions of anthologizing agency are in play here: the Norton, accurately if perhaps inexplicitly, portrays itself as both judging and validating or reproducing received judgments. To “represent” postwar postcolonial poets acknowledges their having been present within anglophone poetry as an ongoing process of creative hybridization; the “welcome” extended to avant-garde poetry, somewhat differently, would seem to bring it into the fold while still preserving its separate status, apart from the polity of modern and contemporary poetry within or alongside which it exists; finally, the inclusion of “recently emerged” modern and contemporary poets indicates that the anthology sees itself as recognizing preexisting judgments–judgments, of course, which its own acknowledgment will considerably, at least for a time, solidify.

     

    The Norton’s “emergent” poets have themselves been sorted into groups, and the criteria of their emergence prove to be primarily criteria of identity: “poets of the Harlem Renaissance and African American modernism,” “female modern poets…and their contemporary counterparts,” “poets of ethnic American minorities,” “poets of Ireland and Northern Ireland,” “poets of gay experience,” “poets influenced by European surrealism and East Asian literature,” “an influential poet of World War I,” and “an eminent Australian” (xxix). In such descriptions, identity and subject matter generally seem to coincide. But one should notice a crucial and neglected asymmetry. Poets who wrote at an earlier historical moment do not “emerge” as contemporary poets do, having been positioned within the literary field of their own moment; rather, revisions to literary history allow them to come into focus. The conditions of reception under which any poet will be seen to “emerge” are specifically contemporary ones, but the conditions that make available both contemporary and historical poets as the subjects of such a process vary. The poets of the Harlem Renaissance and of African-American modernism (and of which, one might ask, was Jean Toomer?) are, after all, African-American poets–and might thus be included within the set of “poets of ethnic American minorities.” Such a separation of terms here acknowledges, without examination, the fact that “modernism” and the “Harlem Renaissance” are complex signifiers, dense with sedimented aesthetic history. The notion of “ethnic American minorities,” by contrast, implying as it does a certain commensurability, evokes the discourse by which races are compared–the discourse of racism. This of course is not to accuse the anthology of any such attitudes, but to notice that category of minority identity is organized around the experience of oppression (one aspect of which, of course, might be under-representation at the level of canonical textbooks).

     

    One must, then, derive the poetics of identity inductively from the examples at hand. Just as the anthology’s national breakdown does not aspire to equality, its breakdown of American identities does not seek to “represent” the current demographic diversity of the United States, or even of those Americans who write poetry; rather, the overall image of the canon is adjusted in the direction of contemporary values, and the nature of these values will be most clearly visible in the selection of new poets. As the conditions of canonicity change, they interlock with the (limited) availability of historical writers who embody these changing values. A list of the American poets under 50 included in the new Norton may suffice to suggest that we remain in this historical moment. These names are given in order of appearance in the second volume; I have appended to each name bracketed descriptions in the language of the anthology:

     

    • Charles Bernstein [born “in New York City, his father the head of a dressmaking company”]
    • Carolyn Forché [born “in Detroit, Michigan”]
    • Jorie Graham [born “in New York, to an Irish American father and a Jewish American mother”]
    • Joy Harjo [of “Muskogee Creek Heritage”]
    • Gary Soto [a “Chicano writer”]
    • Rita Dove [“African American”]
    • Alberto Rios [a “Chicano poet”]
    • Mark Doty [ born “in Maryville, Tennessee,” he “works in the tradition of American autobiographical poetry”]
    • Thylias Moss [“African American”]
    • Louise Erdrich [“French Ojibwa” mother and “German-born father”]
    • Lorna Dee Cervantes [“Chicano/a,” “of Mexican and Native American ancestry”]
    • Marilyn Chin [quoted: “I am a Chinese American poet”]
    • Cathy Song [“born … in Honolulu, Hawaii to a Chinese American mother and a Korean American father”]
    • Dionisio Martinez [born “in Cuba … he grew up in Glendale, California”]
    • Henri Cole [“Beset with contradictions between his homosexuality and his Catholicism”]
    • Li-Young Lee [born “to Chinese parents in Jakarta, Indonesia, [he] is one of the preeminent poets of the East Asian diaspora in the United States”]
    • Sherman Alexie [“A ‘registered’ (in the bureaucratic jargon) Spokane/Coeur d’Alene Indian, Alexie is a master of the trickster aesthetic”]

     

    Insofar as individual poets, rather than poems, are selected for anthologizing, they become to a degree commensurate: one may be tempted to count them. (No prominent teaching anthology has yet decentered the poet.) Nevertheless, a list like the one I’ve just presented can hardly be produced, let alone discussed, without a certain awkwardness.2 What stands out here, I hope, is not any sense that I’ve quoted insidiously, but rather the sheer variety of formulations that may be subsumed under the category of “social identity.” Any such collection of poets can only be seen as a marvelous example of diversity–yet the particular version of diversity as instantiated by the Norton deserves closer examination. The cited phrases that follow each name are meant to suggest the variety of national, racial, ethnic, class, and gender identities explicitly or implicitly predicated to the poet as subject. I cite language about every poet, language which may or may not suggest their affiliation with a “marked” identity. I do not introduce what seemed more interpretive comments: that Carolyn Forché writes a poetry “of psychological and sexual experience” (915), for example. If we attempt to reduce this bewildering complexity of identities to the question of marked and unmarked identities, among these seventeen American poets the “unmarked” identity of the white male is conspicuous by its relative absence–Doty, Cole, and Bernstein. And the former two of these poets are marked as interpreters of gay experience (Cole in the cited note, Doty in his authorship of the powerful “Homo Will Not Inherit.”) But Bernstein is not only the one straight white male among these poets; he is also the only experimentalist–the only one of these poets who, given the “two traditions” symbolically represented by the juxtaposition of Bishop and Olson, would be taken by critics generally to stand in the latter line (and the only one of these contemporaries whose “poetics statement” is included in the anthology).

     

    The Norton, I would argue, gives its presumptive audience an alternative perspective on its own selection of recent poetry, as when Ramazani summarizes Bernstein’s stance: “Despite its pretense of diversity, ‘mainstream poetry’ assumes a restrictive norm in which a single voice expresses personal feeling” (909). In this sense the Norton, in however limited a sense, does attempt what Gerald Graff has referred to as “teaching the conflicts.” Given this opportunity, I’ll now take advantage of Ramazani’s (pluralist) generosity of spirit by introducing the wedge of a still more pointed quotation, from Bernstein’s “States of the Art,” the first essay in A Poetics: “Too often, the works selected to represent cultural diversity are those that accept the model of representation assumed by the dominant culture in the first place…I see my yiddishe mama on Hester street / Next to all the pushcarts I can no longer peddle” (6). The word “representation” marks the spot where political and anthological discourses coincide.

     

    This is not to say that Ramazani sees himself as engaged in an aesthetics of partisan representation. Ramazani introduces the question of identity very differently in different contexts; moreover, the anthology’s headnotes are consistently concerned to assert that no single social identity can exhaust poetic motivation. Thus Gary Soto “both emerged from this cultural moment [Chicano nationalism] and felt distinct from it” (969); Rita Dove “wants less to separate the African American aesthetic from other cultural traditions than to offer a synthesis” (975); Li-Young Lee’s work “bears the imprint of his Chinese background [but] it should not be exoticized” (1040); Thylias Moss “says she avoids ‘imposing certain agendas’ on her poems, such as those of ‘identity’ politics” (999). These, of course, are admirable cautions–but, in the context of the anthology, a remark such as Moss’s is perhaps deceptive, insofar as it misidentifies its own adversary. To what extent might identity politics be primarily an “agenda,” imposed upon the poem with presumably crushing effect? At the most literal level, one might think of a poem that plays with precisely that question, Amiri Baraka’s “SOS,” which I’ll quote in full:

     

    Calling black people
    Calling all black people, man woman child
    Wherever you are, calling you, urgent, come in
    Black People, come in, wherever you are, urgent, calling
    you, calling all black people
    calling all black people, come in, black people, come
    on in. (Reader 218)

     

    Baraka’s lyric seeks to call black subjects into existence–more precisely, to hail “Black” subjects, in the specific Black Arts racial-nationalist sense of that designation. This brotherly hailing is itself a complex process; its double address is attested to by a palpable shift, emphasized by the final line-break, from the abstract, neutral repetitions of “come in” to the spoken–even ideolectal, I’d suggest, potentially Black–invitation: “come on in.” The poem’s very purpose, its insistence on its own status as performance (its own awareness, one might say, of the difference between address and apostrophe) poses a dilemma: can Baraka call directly and efficaciously to “all black people,” thus transcending the mediation not just of the white world but of the “poetry world”?

     

    Such questions adamantly resist a formalist reading, pointing us back out into the world of publishers, audience, and ever-widening circles of context where the effect of a poem as such an action might conceivably be measured. But such poems are rare. Insofar as Ramazani chooses not to anthologize them–works that in a real sense reject the reader who cannot respond to such an address–he is consistent with the stance implied by Thylias Moss’s words. But in so doing he does not reject the discourse of identity politics: far from it. In the realm of poetry, identity politics is more usefully conceived of as an agenda whose effects are visible at the level of canon formation. In this sense, what individual poets think about identity politics doesn’t matter: the selection of contemporary poetry as a whole issues out of liberal pluralism, the scheme of representation by which our society negotiates the relations between competing identities. Ramazani’s own editorial remark is particularly revealing: he suggests that the “neoconfessional mode that seems to have lost much of its force for Anglo-American poets has been renewed and adapted by poets such as [Li-Young] Lee, Alberto Ríos, and Joy Harjo, who write poems that straddle the introspection of confessional poetry and the communal reach of ‘identity poetry’ ” (2, lxvii). Of course, one can find enormous numbers of American poets who still work in a neoconfessional mode, but what I find striking is how the sample of (non-Anglo-American) poets Ramazani has gathered privileges introspection over “communal reach,” a phrase, indeed, more aptly attached to Baraka’s “SOS” than to virtually any of the “identity” poems anthologized in this Norton.

     

    The idea that the poem, possessed of “voice,” provides unmediated access to experience must also be maintained if the relation between particular subjectivities and particular lyrics is to remain stable. After all, the lyric poem–which, among other things, is the poem of a length amenable to anthologizing–has long been conceived of as the bearer par excellence of experiential particulars. Given such a conception, one might argue the liberal-pluralist canon logically follows. Indeed, the narrative of identity–of immigrant experience–is perhaps the literary genre par excellence in the contemporary American academy. I conclude by considering the poetics of identity–the way in which poetic language “represents” the subject–and by considering briefly, by way of contrast, a poet for whom identity is constituted within language.

     

    Certainly, Ramazani does not regard identity as immutable. Yet if one looks for a recent poem in the Norton that treats the relation between language and identity as a problem, the pickings are slim. Poem after poem uses its particular diction, pared-down or lush, formal or colloquial, to narrate a slice of life. On one poetic occasion, however, the arbitrariness of the signifier does appear as a social fact–as does the institution where the anthology will be used. This is Exhibit A: Li-Young Lee’s “Persimmons” (1041-42):[e]

     

    In sixth grade Mrs. Walker
    slapped the back of my head
    and made me stand in the corner
    for not knowing the difference
    between persimmon and precision.
    How to choose

     

    persimmons. This is precision.
    Ripe ones are soft and brown-spotted.
    Sniff the bottoms. The sweet one
    will be fragrant. How to eat:
    put the knife away, lay down newspaper.
    Peel the skin tenderly, not to tear the meat.
    Chew the skin, suck it,
    and swallow. Now, eat
    the meat of the fruit,
    so sweet,
    all of it, to the heart.

     

    The topic of “difference,” for Lee’s poem, begins with language: with two metrically identical English words (one Latinate, the other a corruption of an Algonquin name)–and with a scene of discipline by which the difference between the two words is enforced. Mrs. Walker, representing the educational institution, seeks to correct the boy’s imprecise use of language, or to enforce the status–slow, backward–to which such imprecision dooms him. The second stanza, as it unfolds in a kind of manual for the persimmon, continues to provide double evidence of mastery: the speaker’s assumed familiarity with the “exotic” fruit modulates into a display of familiarity with the musical resources of English. To “choose” persimmons, in this sense, is to select them as fit subject for lyric meditation–as the full-ripened signs of a particular ethnic identity.

     

    Donna undresses, her stomach is white.
    In the yard, dewy and shivering
    with crickets, we lie naked,
    face-up, face-down.
    I teach her Chinese.
    Crickets: chiu chiu. Dew: I’ve forgotten.
    Naked: I’ve forgotten.
    Ni, wo: you and me.
    I part her legs,
    remember to tell her
    she is beautiful as the moon.

     

    Other words
    that got me into trouble were
    fight and fright, wren and yarn.
    Fight was what I did when I was frightened,
    fright was what I felt when I was fighting.
    Wrens are small, plain birds,
    yarn is what one knits with.
    Wrens are soft as yarn.
    My mother made birds out of yarn.
    I loved to watch her tie the stuff;
    a bird, a rabbit, a wee man.

     

    This dynamic–the linguistic failure of the immigrant speaker replaced by a mastery on other levels–characterizes the poem’s movement. Moving from scenic memory to more generalized recollections, the poet as language learner attempts to separate language from experience: pairs of near-homonyms are further confounded as they prove to stand for associated experiences. Yet again, the slippage of the signifier is halted by the introduction of primal, childhood realities: mother’s handiwork is an art of confident connectivity: once given form, her yarn will not unravel. The poem then returns to the schoolroom–and when teacher imagines, as teachers will, that her classificatory powers over the signifier extend to the referent itself, the poet gains a certain revenge:

     

    Mrs. Walker brought a persimmon to class
    and cut it up
    so everyone could taste
    a Chinese apple. Knowing
    it wasn’t ripe or sweet, I didn’t eat
    but watched the other faces.

     

    The poem ends with the son’s return home, where he looks “for something I lost”–thus adult poet allegorizes immigrant child’s search for origins. Now blind, his father waits on the stairs as he searches for and finds his father’s precise painting of persimmons:

     

    Some things never leave a person:
    scent of the hair of one you love,
    the texture of persimmons,
    in your palm, the ripe weight.

     

    The precision of the father’s painting and the precision of his son’s poem are drawn together: “this” is “Persimmons.” Precision, incarnated in the persimmon, its subject, ripens with time; record of the hand, the father’s precision, passed on to the son, will stand. The adult speaking-self, throughout the poem, will clarify distinctions–will, quite exactly, “choose” precision, writing a masterful lyric organized around a central image. And so the slippery signifiers of childhood by poem’s end are nowhere to be found. The deictic This of presence is mobilized against loss, even as the question of loss is shifted from the linguistic register to the anticipated loss of a beloved parent who has already lost his sight. In the headnote to his selection of Lee’s poetry, Ramazani comments: “Imperfectly grounded in English as a child, the adult speaker, likewise unable to remember some Chinese words, is completely at home in neither language” (1039). Yet what Lee writes stabilizes the language of poetry in a lyric conclusion that takes shelter in tangible experience.

     

    What makes the Norton‘s emphasis on such poetry seem a partial reading of the contemporary is its own treatment of historical modernism. After all, the writing of non-native speakers has come to be seen as increasingly fundamental to our definition of poetic modernism: Gertrude Stein, Mina Loy, Louis Zukofsky (all of whom in childhood used at least in part a language other than English)–modernist experimentation can be said to stem from the explosion of unified national poetic traditions. Indeed, all these aforementioned poets are included in the first volume of the new Norton. But the story this anthology tells us about our own moment is of the replacement of modernist mongrelism with a standardized workshop dialect–a dialect spoken by the current generation of immigrants, a dialect of which their mastery can signify successful poetic assimilation even as they thematize the ironies and complexities of double consciousness.

     

    The larger irony here is that the contemporary experimental scene–if it can even be thought of as a single scene–is anything but an old boys club. Take, for example, Harryette Mullen. Hardly an obscure avant-gardiste, she teaches African-American literature at UCLA. In an essay first published in 1996, “Poetry and Identity,” Mullen suggested that “minority” and “experimental” poets were equally marginal with regard to the centers of poetic authority, though minority poets might be gaining ground. Her prediction looks prescient. Mullen’s own work is simultaneously traditional and experimental; I’ll quote a few stanzas from the book-length sequence Muse and Drudge:

     

    hooked on phonemes imbued with exuberance
    our spokeswoman listened for lines
    heard tokens of quotidian
    corralled in ludic routines

     

    slumming umbra alums
    lost some of their parts
    getting a start
    in the department of far art

     

    monkey’s significant uncle
    blond as a bat
    took off beat path
    through tensile jungle (Mullen 49)

     

    The poem is perfectly “teachable”–and teachable within frameworks that Americanists, or African-American literature scholars, will be ready to use. Mullen’s quatrains are densely packed with cultural signifiers of African-American experience, yet almost never become abstract or preachy. Even more crucially, she does not assume the self-possessed speaking subject as the starting point of her verse; rather, the play of language generates positions which are quickly abandoned. The formation of the voice–most often, in this text, the African-American voice–is for Mullen a legitimately lyric subject. For sincerity, she substitutes signifying. The “monkey’s significant uncle” is a creation possible only in poetry, generated, as he is, out of play with concepts–from pseudo-Darwinian racism to African trickster mythology–and phonemes and from their unpredictable overlap. Monkey’s uncle, significant other, signifying monkey, and, finally, signifying other: the chain of displacements finally leads us to the otherness of signification–which is to say, of language–itself: not the “I” that speaks, but the languages that speak us as we speak and, so doing, are spoken for.

     

    Mullen, or her spokeswoman, has heard those who have “found their voice” and are singing its melody (or malady?) on the quotidian stage of the self, the repeat performance of identity playing itself out. And yet offbeat paths are available to us, perhaps more of them now than ever. I won’t attempt to claim that had the Norton chosen such a path, at the turn of the millennium, it might have made all the difference–for how much power can a single anthology, however institutionally buttressed, really have? Rather, I’ll say, with Gertrude Stein, looking at the still-flourishing life of the poetic world that this otherwise admirable anthology has left for dead: “the difference is spreading.”

     

    Notes

     

    1. See Alan Golding’s From Outlaw to Classic (esp. 41-113) for the distinction between poet’s canons and school canons.

     

    2. Joe Amato uses the identical tactic in reviewing Cary Nelson’s Oxford Anthology of Modern American Poetry. Offering a catalog very similar to my own, Amato remarks that “readers are likely to infer from these headnotes the now familiar, if problematic, equation at work throughout: viz., that a poet’s identity, as determined by her social experience–the structural and personal consequences of ethnic or racial lineage, gender, sexual orientation, familial circumstances, class status, occupation, place of birth, and so forth–corresponds to a poet’s social (and sometimes socialist) agenda, and accounts for the work’s having been written the way it is, and published (and critically received, or no), in the first place.” Amato’s review as a whole brilliantly exemplifies the difficulties in articulating commitments to both left politics and experimental poetics within the contemporary academy.

     

    3. Interestingly, the persimmon as signifier of ethnicity (of, in this case, “Japanese-ness”) appears in the (in)famous Doubled Flowering, a collection of poems by the Hiroshima survivor Araki Yasusada–who, it was discovered after their publication in a wide variety of leading literary magazines, was an invented figure (most now would say Kent Johnson, though Johnson, who has been called the “Yasusada-poet,” has not taken credit for the work).

     

     Works Cited:

     

    • Amato, Joe. “It Was the Best of Tomes, It Was the Worst of Tomes: Cary Nelson’s Anthology of Modern American Poetry.” Rev. of Anthology of Modern American Poetry, edited by Cary Nelson. Jacket 11 (April 2000). <http://jacketmagazine.com/11/nelson-by-amato.html>.
    • Ashbery, John. Flow Chart. New York: Knopf, 1992.
    • Bernstein, Charles. A Poetics. Cambridge: Harvard UP, 1992.
    • Golding, Alan. From Outlaw to Classic: Canons in American Poetry. Madison: U of Wisconsin P, 1995.
    • Guillory, John. Cultural Capital: The Problem of Literary Canon Formation. Chicago: U of Chicago P, 1993.
    • Hall, Donald, Robert Pack, and Louis Simpson. New Poets of England and America. New York: Meridian, 1957.
    • Harris, William J. ed. The LeRoi Jones/Amiri Baraka Reader. New York: Thunder’s Mouth, 1991.
    • Hoover, Paul. Postmodern American Poetry: A Norton Anthology. New York: Norton, 1994.
    • Mullen, Harryette. Muse & Drudge. Philadelphia: Singing Horse, 1995.
    • Nelson, Cary ed. Anthology of Modern American Poetry. New York: Oxford UP, 2000.
    • Perloff, Marjorie. “Whose New American Poetry?: Anthologizing in the 1990s.” Electronic Poetry Center. <http://wings.buffalo.edu/epc/authors/perloff/anth.html>.
    • Rasula, Jed. The American Poetry Wax Museum: Reality Effects 1940-1990. Urbana: National Council of Teachers of English, 1994.
    • Tuma, Keith ed. Anthology of Twentieth-Century British and Irish Poetry. New York: Oxford UP, 2001.
    • Wallace, Mark, and Steven Marks, eds. Telling it Slant: Avant-Garde Poetics of the 90s. Tuscaloosa: U of Alabama P, 2001.
    • Yasusada, Araki. Doubled Flowering: From the Notebooks of Araki Yasusada. New York: Roof, 1997.
  • On Media and Modules

    Stephen Dougherty

    Fine Arts and Humanities Division
    Elizabethtown Community and Technical College
    stephen.dougherty@kctcs.edu

     

    Review of: Tabbi, Joseph, Cognitive Fictions. Minneapolis: U of Minnesota P, 2002.

     

    Cognitive Fictions is a sophisticated and fascinating book that asks difficult questions about the place of literature and the literary artist in the age of digitized mass media. The answers Joseph Tabbi provides are equally difficult, although the reader’s trouble on this score will depend in part on whether or not he or she ascribes to some of the guiding assumptions that motivate the inquiry. To its credit, this is a book that provokes an emotional response. However, Tabbi’s reliance on the modular theory of mind (more on this later) elicits considerable discomfort even for a reader who does not consider himself or herself a traditional humanist.

     

    But first things first: Cognitive Fictions represents an important contribution to U.S. literary studies. Tabbi rightly insists that in a global culture literary studies must engage more with science and with media studies. Taking issue with what he sees as a predominantly unmediated situation of literature studies in its geopolitical framework, Tabbi suggests another approach: we must develop closer and more detailed “connections with the sciences and with those communications media whose recent expansion and unprecedented integration into everyday life made a global culture possible . . . in the first place” (xviii). Thus, if the novel is to continue to possess a recognizable cultural diversity and historical specificity, and if we are to continue to respect it for such differences, then “it first needs to define itself within and against those more globalizing powers and distribution networks that threaten to erase the novel’s medial difference” (xix).

     

    This is the task that Tabbi has set for himself. In a time when all forms of communication (image, sound, text) can be digitized, and at a point in cultural history when irony, once the hallmark of the postmodern literary, has been wholly subsumed by advertising culture, he asks along with the small group of U.S. writers he investigates: What is the novel for? What does it do? Why does our culture continue to produce and consume works of fiction? For Tabbi, the contemporary novelist’s purpose has nothing to do with nostalgia for the Real; it is not about the recovery of an “authentic” America, because in a world where electronic mass media has penetrated so deeply into the collective consciousness that distinction no longer has any value, if it ever did. The purpose of the fiction writer is rather to re-purpose or re-mediate the complex social/communications systems within which our minds and bodies are enmeshed through the processes of observation, or rather, observation of observation.

     

    Tabbi’s inspiration here is the autopoesis of Maturana and Varela, and the work of Niklas Luhmann as well. Just as “autopoesis describes a way of establishing and maintaining a system’s boundary by selecting meaningful elements (distinctions the system can use) out of an otherwise indistinct, ‘noisy,’ environment” (xxii-xxiii), the writers that Tabbi examines (at least in the latter portion of his book) obsessively observe and take notes in journalistic fashion, or rather their protagonists do. Such close observation of the social systems that constitute them makes (or marks) a difference that becomes useable as a platform for fresh insight about those systems. Tabbi explains:

     

    In recognizing the absolute closure of the system . . . , these narrators create a new distinction, which then enters into the system it describes and alters it. So the moment a narrator recognizes the possibility of keeping a "journal of the journal," or turning one's isolated inconsequential notations into an "absolutely autobiographical novel," the narrator can re-enter the system at another level (and at a later time), and thus keep things going. The distinction (analogous to what cognitive science would term a "gap" and literary theory might call the "aporia") between rhetoric and meaning, the writer/observer and the writing/system under observation, is no longer a distinction between inside and outside. Rather, by imagining oneself as "outside," the observer introduces a new distinction within the writing-system. Hence the possibility of moving the system (not necessarily "up") to a different level of complexity, so that it can function differently within the environment (because it is now structurally capable of making new distinctions and hence seeing things within the environment that were not visible before). (xxii)

     

    Here Tabbi urges that we must distinguish between autopoesis and an autotelic theory of the literary that insists upon the absolute isolation of the literary work from the hum of background noise. Autopoetic art encloses itself in and as a world of words, but it does so in relation to the outside. The distinction between the autopoetic and the autotelic is critical for Tabbi, given his desire to save for the literary artist a purpose or a value that the self-reflexive modernist lost in a hall of mirrors no longer offers us. Writers such as Paul Auster in his New York Trilogy, David Markson in Wittgenstein’s Mistress, and Harry Matthews in The Journalist are not out of touch, and they certainly don’t go about conjuring a world elsewhere in the New Critical sense. But then the real issue for Tabbi is what it means to be in touch, and how one goes about mediating reality (as a novelist) in a world where human perception is already so profoundly mediated: “Reflexivity in contemporary fiction, like autopoetic closure in cognitive science and in systems theory, is not a shutting out of the world,” Tabbi insists. “[I]t is rather a way of establishing an identity that is better able to connect with the world at particular points, when one is able, while writing, to re-cognize and put on hold one’s own literary distinctions and categories long enough to see how they might answer to distinctions in the environment” (80).

     

    The application of systems theory to literary study is promising, and it is likely that Tabbi’s project will prove inspirational for many readers and critics. Nevertheless, the difference between the autotelic and the autopoetic is often quite difficult to grasp in Tabbi’s readings; which is to say that it is hard to tell what practical value his authors and/or their protagonists get out of the close observations that constitute their textual interventions. Perhaps this is inevitable, given that Tabbi’s concern is with states of consciousness, which are of course rather ineffable stuff. Nevertheless, one is left with the distinctly unsettling impression that on Tabbi’s account we are in a world so utterly homogenized through mediation that there is no space for resistance. That is not because of his use of systems theory. If the fundamental lesson of systems theory is that human cognition is a moving blind spot, then as a theoretical framework within which to understand behavior, systems theory converges in some significant ways with other theoretical frameworks that trouble but do no obviate the value of talking about cultural resistance, such as the psychoanalytical. Blind spots are one thing, but Tabbi’s mobilization of the cognitive scientific model of mind represents in itself a discrete aspect of his theoretical strategy, and we must separate this out from systems theory.

     

    My main grouse with Cognitive Fictions has to do with Tabbi’s uncritical acceptance of what is known as the modular theory of mind, the idea that the mind/brain is made up of systems whose resources are site-specific, so to speak, or “encapsulated” with respect to the data that each contains. According to this theory, information in the brain is stored in independent modules which have either very limited or no knowledge of what goes on outside, in surrounding domains. But as Jerry Fodor has most vigorously argued in recent books, while the modular theory may indeed get the architecture of local mental states right–those that pertain to beliefs, desires, and other forms of thought that can be expressed propositionally–it explains nothing about global, or conscious, states. Fodor writes in The Mind Doesn’t Work That Way:

     

    Since the mental processes thus afflicted with globality apparently include some of the ones that are most characteristic of human cognition, I'm on balance not inclined to celebrate how much we have so far learned about how our minds work. The bottom line will be that the current situation in cognitive science is light years from being satisfactory. (5)

     

    Without getting into the considerable complexities of Fodor’s arguments, which in any case pertain mainly to the logical and empirical misgivings he has about the modularity thesis, suffice it to say that Fodor sees far greater virtue in blending domain-specific and domain-general cognitive architectures. For if the mind is entirely modular, as cognitive science is wont to argue; if “there is a more or less encapsulated processor for each kind of problem that it can solve”; and if “there is nothing in the mind that can ask questions about which solution to a problem is ‘best overall,’ that is, best in light of the totality of a creature’s beliefs and utilities,” then for Fodor cognitive science has not gotten us very far in the study of human consciousness (64). This assertion on its own is a powder keg, and I do not want to endorse it so much as to use it to point toward a problem that dogs Cognitive Fictions on another level.

     

    Following McLuhan, Tabbi assumes from the start that our electronic media are extensions of the human sensorium; in effect his book is a complex and sophisticated study of the relation between those media on the one hand and “the human measure” on the other. Whereas McLuhan in the sixties believed he confronted, as Mark Hansen puts it, “‘a situation in which the prostheses we adopt to cognize and intervene in the technologically driven material complexification of the universe only seem to expand our experiential alienation’” (x), Tabbi re-envisions the relation between human beings and their electronic prostheses, or their media environments, based on the discoveries of cognitive science. His next assumption, and it is the value rather than the accuracy of this one that I question, is that the findings of cognitive science refute McLuhan’s thesis that there is a poor fit between our media and our psychical economies. Digital information processors do of course work on the architectural principle of modularity. But instead of accepting neutrally that “emerging sciences of the mind have produced detailed descriptions of similarly communicating agents, modules, and distributed networks in us” (x), Tabbi could have more fully questioned from the start the motivations that have produced these discoveries, which are in effect metaphorical associations. In other words, what Cognitive Fictions lacks is a substantial rhetorical analysis of its cognitive science, because it is by no means a necessary correlative of systems theory. Neither is it necessarily a good fit.

     

    Tabbi’s decision to foreground systems theory and to background the cognitive theory has a practical payoff because it is a relatively safer critical strategy. It is even likely that it was the right decision, given that it frees him to pursue systems-theoretical insights rigorously. We should not be surprised, however, that it produces a big blind spot. For Tabbi fails to see the trouble into which his under-theorized articulation of cognitive science with systems theory gets him right from the start, even in spite of his explicit statement of the problem. Here is the statement, which refers back to the prior announcement of the modularity thesis: “With the coming together of these two systems–call them the mind and the medial ecology–prospects for achieving a critical distance, never hopeful in a postmodern context, seem increasingly unlikely” (x). True enough. But the prospects for achieving the kind of distance from our media ecology that would allow for truly productive critical inquiry into its conditions and effects, which is what Tabbi seems at least wistfully to hope for in this passage, are radically undermined precisely by the uncritical acceptance of the modularity thesis. If we do not assume that the mind is “coming together” with media systems by virtue of deep structural affinities, then we will invariably find ourselves talking about some other kind of interface between them–one perhaps, with more friction at work; and one, perhaps, where there is a greater possibility of achieving a productive critical distance from media forces. Tabbi is not entirely unaware of the problem. In fact he acknowledges it head on in his chapter on Pynchon and cognitive science:

     

    For a humanism that wishes to read signs of community in a multi-voiced and multicultural past, the implications [of modularity] remain disturbing: when consciousness, like corporate power, is itself composed of a collection of partially connected modules or media, what resistance is possible? .... Just as cognitive theories of the modular mind require no self, the proliferating connections among voices and identities in Pynchon's two most recent novels require no community. (52)

     

    But surely it is not only the humanists who ought to worry about the failure of community, or about the dangerous erosion in the postmodern world of any space for meaningful resistance. Tabbi does not claim that we ought to accept such an erosion blithely. Still, the particular variety of cognitive science he chooses to articulate together with systems theory leads him to recreate on the critical-theoretical level some of the same problems he insightfully exposes in the fictions he studies.

     

    Work Cited

     

    • Fodor, Jerry. The Mind Doesn’t Work That Way: The Scope and Limits of Computational Psychology. Cambridge: MIT P, 2000.

     

  • Postmodern Archaic: The Return of the Real in Digital Virtuality

    Gerald Gaylard

    Department of English
    University of the Witwatersrand, South Africa
    geraldgaylard@languages.wits.ac.za

     

    Our entire linear and accumulative culture would collapse if we could not stockpile the past in plain view.

     

    –Jean Baudrillard, Simulations 19

     

    The standard spin given to digital virtuality in our era, and not just by advertising copywriters, is that of naïve optimism. Jaishree Odin, for instance, describes hypertext as effecting a radical shift “from the linear, univocal, closed, authoritative aesthetic involving passive encounters to that of the nonlinear, multivocal, open, non-hierarchical aesthetic involving active encounters,” adding that this latter aesthetic is more capable of “representing postcolonial cultural experience since it embodies our changed conception of language, space, and time” (599). While one can certainly endorse the call for more polyglot, less rigidly hierarchical modes of practice, we should be skeptical about the role of hypertext in advancing that project. Indeed, as I will argue here, if we look past the utopian hype we can discern a tendency toward the healthy survival, even flourishing, of realist tropes and mores within digital virtuality, a tendency with a number of disturbing connotations for “postcolonial cultural experience.”

     

    Perhaps surprisingly, the digital virtuality industry today often emphasizes its naturalism and realism; it is an industry that currently sells itself less on its ability to abstract than on its increased high-focus representational resolution. In other words, digital virtuality’s initial promise to create the new, to reify the imagination, has often led rather toward more reification and objectifiction than expanded imagination. This is not only visible in some digital technology (for instance, “motion capture” in which actual human motion is the original data for “realistic” animation) and in the leagues of advertising copy in the vein of “never seen before,” “digital reality creation,” “zero defect,” “and everyone’s invited,” but also in the recently prominent quasi-surveillance of home videos and “reality TV”; docu-soapies; documentary films such as The Great Dance; films such as The Blair Witch Project, The Truman Show, The Sixth Sense, Series 7: The Contenders, and The King is Alive; atavistic rhythms in digital techno and trance music; some “new ageism,” as in Terence McKenna’s The Archaic Revival; and so on. I hope that it is clear therefore that I am using virtuality in the widest sense to include any kind of interactive digital cultural products, or any artifacts that utilize digital technology (from miniature cameras to computer games to films to internet web pages). Moreover, I am arguing that virtuality is not confined to technology, but involves a wider set of cultural practices that tend to rework the “real” in the service of commodification. I want to call these cultural practices the “postmodern archaic” because they use the enablements and blandishments of digital technology to test and ratify current notions of virtuality and reality by comparison with a version of the past. How are we to understand this plethora of digital products and practices, all raising in some way reality and realism and the relationship between them?

     

    My sense is that this technology tends to raise issues of representation in the same general way that all technological innovations require cultural adaptation to their potentials. Indeed, it might even be asserted that the quality of cultural production declines when new technologies are introduced as producers have to spend time exploring, understanding, and integrating those technologies. It is a commonplace, for instance, that when “talkies” were first introduced, they were of low quality content-wise; a similar decline from prevailing standards of quality was all too apparent when computer-generated imagery first came into vogue. So my contention is that cultures are perpetually in oscillation, or at least subject to wave-like ebbs and flows, with the rush to new and potentially less representational forms invariably precipitating a resurgence of normative realisms.

     

    To appreciate this curious give-and-take logic in the forms and technologies of representation, it is helpful to survey the major historical analyses of realism. Many of these are concerned with the genesis of modernity, with Renaissance and post-Renaissance painting, and with the novel–in particular the nineteenth-century realist novel of Balzac, Flaubert, Tolstoy, Austen, Hardy, et al. Such critics as Lukács, Auerbach, Watt, Levin, and Alter point out that narrative realism in the novel initially took the form of exhaustive, not to mention exhausting, adjectival description, particularly focusing on domestic minutiae. Typically, such novels were located in the lounge, parlor, and kitchen, although they seldom made it into the bedroom. Hence, despite the different manifestations of realism, from the classical geometries of Renaissance realism to the social realism of the nineteenth century, realism tended to take the form of mimesis or objective verisimilitude: imitation, representation, referentiality. Such belief and practice were also manifest in the early days of the cinema with Kracauer, Bazin, and others lauding celluloid for its unprecedented representationality. Television too has been a mimetic form, reflecting the spread of multinational technocracy for Langer, Kroker, and Cook, among others, and is now the format of a peculiarly postmodern form of realism: the illusion of participatory democracy fostered by “reality TV.” As Bourdon and Fetveit argue, the raison d’être of television is the promise of its being live and therefore authentic, a contract with audiences that involves them in “a specific interpretive community, and, beyond . . . a national audience” (Bourdon 550). Thus realism has been characterized, I think correctly, as the belief in the ability of signs to represent an objectively verifiable world accurately.

     

    Of course, the signs that are taken to be realistically representative are culturally specific, so the heritage of realism that concerns us here was not merely an aesthetic phenomenon but was also the cultural aspect of a massive social upheaval beginning in the West but ongoing to this day throughout the globe; ontologically this belief in disinterested representation was termed empiricism, which was reciprocally reliant upon science, industrialization, and colonialism. As Mary Louise Pratt notes, scientific exploration, involving the systematizing of nature and indigene in the eighteenth century as part of the imperial project, relied upon representation. Hence empiricist and realist disinterestedness was not culturally innocent and produced a systematization or mapping under the hegemony of the Western bourgeoisie and the authority of print. A wide diversity of critics has seen both the novel and film as bourgeois genres in thrall to a realist mode which, as Nash remarks, is “anthropocentric” (13). Realism, at least in its early days, was Western, empiricist, materialist. Readers, viewers, and writers co-founded an ordered and rational world–a world of stability in the midst of industrialism’s maelstrom, a secular humanist substitute for religion’s ontological reassurance. Realism was fuelled by the desire of the rising and insecure bourgeoisie to embed and reify its ideology, a reification perhaps most evident in the technological media artefact of the imagination of mass consumer culture, the novel, a reification that was arguably to find its most recent apogee in television. The point here about realism is not so much that the form is inherently wrong-headed, but simply that it has a specific history, a history which has not been altogether kind to non-Western worlds.

     

    Now it may seem like a large leap from the nineteenth-century realist novel to virtuality, but the essentially materialist critique of realism can still be legitimately invoked in the context of digital culture. Even in the context of new media, realism serves to provide a coherent and comforting narrative by offering an apparent anchorage in actuality. This recurrence of realism within postmodern culture becomes clear if we perform even a very brief materialist critique of Survivor, the exemplary instance of reality TV and “the most popular show in the United States.” Survivor does not utilize digital technology in particularly overt ways, though it is clearly present in the capture and playback of video and audio, editing and title sequences. Rather, as is typical of hypertext and reality TV, the series utilizes notions of accurate representation, surveillance, fame, and democracy.

     

    Survivor attempts to fuse elements of the soap-opera (a compressed series of struggles over friendship, intimacy, and betrayal within a small community, a lot of close-up emotional-response shots), the tourism show (like Lonely Planet), the eco show (wildlife documentaries), the game show (a million dollars are up for grabs in a competitive format), the detective program (“whodunnit,” or perhaps that should be “whowinsit”?), and the newer genre of reality show or infotainment docu-soap-opera (in which events and emotions are apparently spontaneous and unscripted). The plot of Survivor is rather similar to a pilgrim’s progress: via a series of tests and votes, some survive while others are eliminated and eventually, via tasks that supposedly bring the survivors closer to the elements, the environment, and the indigenous culture, the final three are “initiated” into the local tribe, though of course there is only one “sole survivor” who wins the million.

     

    Survivor is not just realistic; its realism has the incontrovertible gravitas of spontaneity under the objective gaze of the unedited lens. So the first aspect of this “new” realism is what I want to call the “illusion of spontaneity.” There was a time when the tag “based on a true story” was a lure for viewers, but now that seems no longer enough; what viewers want is the true story itself. What contemporary realism seems to demand is not only density of description, of space, of objects, in order convey verisimilitude, but also spontaneity of time, possibly because spatiality has become so hyper that time is seldom linear. So the early realist emphasis on place and linear time in the novel or on exhaustive texture in the film has shifted to an emphasis on globalized space and synchronic time, and particularly unmediated time, spontaneity. This is evident if we examine the credit sequence at the end of the show: along with the usual roll-call of post-production and casting for the Africa season were bush managers, psychologists, safety coordinators, as well as fourteen editors, eighteen cameramen, and fifteen audio personnel. At no stage are any of these production personnel or processes foregrounded in the final aired product. The illusion of spontaneity is required for television to appear live and therefore authentic and is an inheritance from the instrumental empiricism that informed the novel. Moreover, credibility fostered by immediacy is further structured by the dramatic tension so germane to novelistic narrative, a dramatic tension that is provided by accidents, revealing comments by participants, and particularly by the tribal council at the end of each episode when participants are voted off the show. The frisson of the unexpected, and therefore the live, that these moments provide further fetishizes the epistemological structures of conventional realist narrative; in other words, consumers are programmed by the rhetoric of spontaneous spectacle, the exceptional, and the individualism that underpins realism. Indeed, the placement of the unscripted, unscriptable, moment of tribal council at the end of the show provides a climax that keeps viewers watching.

     

    The second aspect of this realism, inextricably intertwined with the illusion of spontaneity, is its spatiality, which in this case is the archaic surroundings of what the narrator Jeff Probst calls “a land virtually untouched by the modern world.” The first point about these surroundings is that they are an actual physical location, a place, and physicality is always the last refuge of the authentic, the real. However, this place is also a space, a space which I want to call the “postmodern archaic.” I have chosen the word archaic because it does have a sense of spatiality as well as of time, suggesting the primitive, the old and outdated, as well as ancient habitation, ruins, or simply nature or the bush. Now of course the archaic is nothing new. Indeed, one might say that the archaic is as old as nostalgia, and, therefore, it seems important to keep in mind that the archaic is hardly a new trope in cultural production, particularly Western cultural production, and here one might cite the Bible, through Rousseau to Ruskin, Mollison and beyond. Indeed, nature or “the natural” is an invention of culture and inevitably recurs as culture becomes more and more palimpsestic, recurs as a symbolic ballast to the layered excesses of culture. As Raymond Williams has it:

     

    By "residual" I mean something different from the "archaic," though in practice these are often very difficult to distinguish. Any culture includes available elements of its past, but their place in the contemporary cultural process is profoundly variable. I would call the "archaic" that which is wholly recognized as an element of the past, to be observed, to be examined, or even on occasion to be consciously "revived," in a deliberately specializing way. What I mean by the "residual" is very different. The residual, by definition, has been effectively formed in the past, but is still active in the cultural process, not only and often not at all as an element of the past, but as an effective element of the present. (122)

     

    In the case of the postmodern archaic, the archaic isthe residual, for in its guise as nature and the corporeal it is continually available for the specialized purpose of testing and confirming contemporary culture. To put this differently, we might regard the postmodern archaic as the residual in the guise of the archaic; contemporary repurposing of the residual makes it appear original, archaic, and incontrovertible. In the theatre of this archaic we discover our “roots,” a sense of pristine organic holism, shorn of culture’s detritus. As Marianna Torgovnick argues,

     

    the metaphor of finding a home or being at home recurs over and over as a structuring pattern within Western primitivism. . . . this line of thought about the primitive takes us full circle and returns us to the earliest meanings of the word primitive as the original state of something--biological tissue, church organization, social organization. For "going home," like "going primitive," is inescapably a metaphor for the return to origins. . . . For the charm to work, the primitive must represent a common past--our past, a Euro-American past so long gone that we can find no traces of it in Western spaces. . . . The primitive must be available or our 'origins' may no longer be retrievable, re-creatable. (185-87)

     

     

    So the archaic is a sign of an authentic common past, a home that soothes modernity’s homelessness.

     

    The archaic is visible in the forgeries utilized by artists to obtain the appearance of archaic authenticity: artificial worm-holes in wood, oil paintings darkened by candle smoke, outmoded language in novels. The sense of authenticity was to be particularly important in the Modernist primitivism of Picasso, Yeats, Lawrence, and Joyce. At another level, what child has not imagined what would happen if all the technocultural scaffolding and paraphernalia of contemporary life were to disappear? Hence the archaic has been particularly prevalent in depictions of childhood and fantasy, and the corollary is also true, that the archaic is often infantilized. So the archaic has a past, and its present can be identified in any number of contemporary cultural phenomena, including neo-tribalism, neo-paganism, aspects of the ecological movement, conservation, concern for the endangerment of tribals and their lifestyles, certain religions, reality television, and so on. At the postcolonial level, the long history of the archaicization of Africa, for instance, can be traced back to at least early cartography, nineteenth-century imperial romances as in Rider Haggard, the ethnicization of the female primitive in Saartje Bartmann, the fetishized images of the bushman and frontiersman, the work of Laurens van der Post, wildlife documentaries, recreations of dinosaurs and so on. Such archaicization is also prominent in the frontier theme so dominant in America, particularly in the Western. These images and stories tend to preserve the bush and its aboriginal denizens as pristine, primeval, authentic, and as a commodity for consumption. The archaic can also be found in the reaction of various nationalisms to these imperial images in the valorization of indigenous cultures, traditions and landscapes. Nevertheless, what is postmodern about this archaism in contemporary culture is the extent to which it is reified as a simulation, a Baudrillardian simulation. Jameson notes that

     

    nostalgia film, consistent with postmodernist tendencies generally, seeks to generate images and simulacra of the past, thereby--in a social situation in which genuine historicity or class traditions have become enfeebled--producing something like a pseudo-past for consumption as a compensation and a substitute for, but also a displacement of, that different kind of past which (along with active visions of the future) has been a necessary component for groups of people in other situations in the projection of their praxis and the energizing of their collective project. (137)

     

    What makes this archaic postmodern is the extent to which it is apparently real, spontaneous, live; the extent that technology has become fast enough to capture or outpace reality. The “postmodern archaic” in this case is the utilization of a reservoir of symbolic archaic value as the backdrop and test for “progress”; in other words, the desert island, the outback, the savannah, are yardsticks to measure how far modern people have come from their “roots,” and to determine whether they can still functionally return to them. The pristine is so appealing because in an era of vertiginous change it can be made to be a relative constant, and because it can act as an empiricist, realist litmus test and, hopefully, validation of contemporary hyperculture. In other words, the postmodern archaic might be seen as part of the ongoing human attempt to cleanse and stabilize nature and the visceral, to control the messiness of the flesh, and what is particularly postmodern about this is that it is technology that is the agent of the sanitizing sublimation. Hence I am using a Jamesonian distinction between the postmodern (as in the sociohistorical era) and postmodernism (reflexive cultural production in and about that era) to emphasize Baudrillard’s notion of the “simulacrum” that characterizes the postmodern. Indeed, postmodernity or the postmodern has been consistently characterized as a space rather than a place due to its dependency on globalization and simulation. According to this distinction, Survivor is definitely an example of a postmodern simulacrum, rather than of critical, reflexive postmodernism (which may well be simulacral itself). As John Langer suggests of disaster coverage in Tabloid Television, this simulacrum attempts to forestall the depersonalization and community breakdown that accompanies technocratic postmodernity.

     

    Thus we see that in the Survivor: Africa season, many attempts are made to integrate the contestants with the locale so that challenges and rewards partially involve the local flora and fauna and local practices such as bartering and drinking cow’s blood (as the Masai do). Hence the postmodern archaic is not merely a test, but is motivated by a Luddite consciousness, and in particular by what N. Katherine Hayles calls “corporeal anxiety,” the fear of dematerialization of the body, and a corollary need for community/family/tribal bonds (800). Thus what is also piquantly postmodern about this archaicism is the apocalyptic anxiety that the archaic, our own roots as externalized in primitive societies and locales, is disappearing at an accelerating pace. Baudrillard similarly links anxiety and panic with nostalgia:

     

    When the real is no longer what it used to be, nostalgia assumes its full meaning. There is a proliferation of myths of origin and signs of reality; of second-hand truth, objectivity and authenticity. There is an escalation of the true, of the lived experience; a resurrection of the figurative where the object and substance have disappeared. And there is a panic-stricken production of the real and the referential, above and parallel to the panic of material production: this is how simulation appears in the phase that concerns us: a strategy of the real, neo-real and hyperreal. (12-13)

     

    This nostalgia requires that the viewers of Survivor consume the genetic substrate of the archaic authentic and thus establish its authenticity; the word is made flesh in an act of ingestion, voyeurism enters the body. Clearly Lukács is hardly enough and psychoanalytic analysis is of utility here. Much has been made of the link between cannibalism, vampirism and consumer capitalism, and here I think that we see the same connection in that capitalism involves incorporation via ingestion. Perhaps we might call this canny capitalism? Sparkle Hayter satirizes Survivor as a contained and sanitized capitalism in a short story which postulates that real castaways would have to resort to cannibalism in order to survive. If we consider that money today is virtualized in terms of computer transactions, but we can still make a withdrawal of actual physical cash from the machine and thus confirm the veracity of virtual capital, then via consuming the illusion of spontaneity and the postmodern archaic, the postmodern subject is able to confirm the veracity of virtual culture today.

     

    In the cow’s blood drinking scene in Kenya in the Survivor: Africa season, for instance, the host Jeff Probst comments, “I’m going to tell you up front, when I first saw this done it seemed very brutal to me, but I spent a lot of time with these guys and found out exactly the opposite, cattle are revered . . . cattle are truly a source of life, what’s going to happen is something they do every day and how they live.” While this might be seen as admirable postcolonial foregrounding of cultural position and prejudice, the prejudicial is immediately re-established by Probst’s next comment, “just to assure you, we’ve tested and quarantined this cow, this one is completely clean,” something reinforced by the camera’s lingering glance on the blanching face of one of the women contestants when blood is mentioned. This cultural othering is further compounded when Probst pours the blood into a glass jar while saying “pour it into a serving container that suits you guys,” which might indeed be a metaphor for the postmodern archaic as a whole. Furthermore, such scenes of ingestion are not only characteristic of the “eat or be eaten” ethos of capitalism, but have become a trope in reality television, partly because they appear to be live, but also because the trope of the “gross out” is not just an exercise in multicultural tolerance but in sensationalizing the limits of cultural tolerance through stomach-turning. Scandal is required for the maintenance of viewer interest, but the scandal must always be contained within culturally sanctioned boundaries of acceptability. Thus the postmodern archaic has the double function of both critiquing contemporary culture and retroactively ratifying that culture.

     

    Hence Survivor might well be accused of tokenism, for not only are there no indigenous inhabitants taking part in the show–all the contestants and backing crew are American (the only locals credited in the Africa production were a location manager and carpenters)–but also the gestures toward the indigenous are almost insultingly offhand and exoticizing. The music in the Australian Survivor (composed by Russ Landau and David Vanacore), for instance, alternates between schmaltzy neo-classical in the scenes construed as patriotic to the United States, so that when the contestants chat to their families via the internet in one reward violins swell portentously. On the other hand, indigenous scenes are accompanied by “primitive” indigenous drumming or spooky didgeridoo playing to indicate threatening danger. This contrast is most apparent in the Survivor: Thailand season when in one episode the survivors sing the cheery yuletide song “Sleigh Ride” on a sultry summer’s night, with the camera panning into the moonlit Thai landscape with eerie accompanying music. In fact, the theme tune to the series is called “Ancient Voices” in the credit sequence. This aural sensationalism exoticizes the archaic and appropriates the other. In fact, Africa, Australia, Asia, and so on in Survivor are understood through projections of the repressed of the West, as in Conrad’s evergreen Heart of Darkness. A necessary background in reading realist media production today would seem to be critical postcolonialism alongside formalism and psychoanalytical theory, at the least.

     

    Of course, it is not my intention to disparage these noble attempts, noble savage attempts, to embrace the other, but I cannot get away from the fact that they are merely a façade amounting to no more than local color, for the narrative of the game itself is a capitalist orgy of “democratic” voting, defeat, accumulation, and victory. The initiation into the local(e), this neo-tribalism, cannot be allowed to interfere with a bigger tribalism, a nationalist agenda; hence the triumphal finale ratifying capitalism with a final vote into millionaire status, the golden calf of America. A central transcultural aspect of the game show is its valorizing of competition, materialism, commodity fetishism, and winning. In game shows the linking of specialized knowledge and skills with material reward instantiates the capitalist ideological underpinnings to American value systems. While the “third world,” savage, primitive archaic is apparently there as a test, the game as such is not tested because it embodies the notions of the law of the jungle and survival of the fittest.

     

    Thus the mirage of a test is partially there to quiet the apocalyptic anxieties of a decadent culture; if the United States fell apart or was attacked by its enemies and became a wasteland, Americans and their culture could still survive and flourish because their culture is natural. As Baudrillard notes, “everything is metamorphosed into its inverse in order to be perpetuated in its purged form” (37). In a sense, then, Survivor offers to American audiences not only the opportunity to test and ratify their culture, but also the chance to consolidate a collective identity, the possibility for a Barthesian plaisir, a pleasure in self-recognition and hence validation. Unlike many other game shows, Survivor does not offer substantial consolation prizes. There was one season in which all the players received a car, and the runner-up always receives one hundred thousand dollars. But these exceptions aside, losers are sent home with nothing to show beyond a chance at some publicity and post-production photo opportunities.

     

    But while the show does superficially offer us survivalism, a narrative that confirms the “law of the jungle,” it is carefully scripted and contained. The host, Jeff Probst, maintains center stage as the organizing voice of authority and control, the voice of the father, echoing Chion’s claim that television is vococentric in that the voice “orients the viewers decisively in certain directions of interpretation” (Bourdon 541). It is no mere idiosyncracy of style that has Probst affecting frontiersman khaki fatigues and an imperious manner. This is clearly a patriarchal cultural model, with the father as the voice of authority, the “immunity idol” as phallic talisman, and the contestants as Oedipal children jockeying for his divinely impartial approval or disapprobation in the form of extinction. To take this Freudian model further, the archaic landscape may well be the feminine, a primitive oceanic in which the children find home. Moreover, the show is very ritualized; the same routines are utilized in the same places at regimented times. The off-screen props that actually enable this quasi-survivalism were revealed most dramatically when one of the contestants fell into the fire in the Survivor–the Outback season and was badly burned: he was airlifted out in a helicopter. No doubt one of the rather ghoulish pleasures that the show offers to audiences is the threat of danger that does accompany even such a scripted and supported trip into the apparently wild. Moreover, the audience revels in any sudden changes in the plot or between the characters, much as it would respond to a change of fortunes in a novel or sitcom.

     

    It is in this way that the game appears “natural” and therefore “unquestionable.” In other words, capitalism must be the ultimate culture because it is not a culture as such but in fact unmediated nature, verisimilitudinous naturalism; the divide between nature and nurture collapses. So the totem of the tribe is not the desert island, the outback, or the savannah, but the game itself–competition with winner takes all as its crowning decapitation. The totem is capitalism, the law of the jungle, the constitutive principle of the tribe as such. Indeed, one might be tempted to read this particular brand of hyper-realism as a justification of the pax Americana (or should that be belli Americana?). This is graphically evident in the Survivor: Marquesas season in which Probst informs the contestants at their first tribal council in a picturesque building that “all over the Marquesas there are ancient dwellings like this one, for thousands of years things have taken place here, everything from sacrifice to other rituals; tribal council is certainly a ritual, the vote definitely a sacrifice, because this is where you are held accountable for your actions on the island.” Capitalism must contain the archaic in order both to conceal and to justify its savagery. Here the ancient myths of purification and justice via abasement and suffering are reinforced. As Langer notes of the restoration of order in television news, “these stories reassure us that the social organism has an ‘immune system’ which can expel untoward and even astonishing interference. Risk to the community ultimately offers us ‘faith’ in the community” (125).

     

    The academic who has perhaps written most extensively about this issue of postmodern archaicism is Dean MacCannell in Empty Meeting Grounds: The Tourist Papers. MacCannell makes the point that tourism stages authenticity in order to appeal to exotic expectations that center around temporary escape from the West. He goes on to say that postmodern archaicism which exoticizes the apparently genuine primitive other in an act of identity tourism is not so much a metaphoric guilt expiation, but an actual guilt being expiated, for we have in fact completely wiped out our “savage” ancestors (one might, perhaps uncharitably, construe the neo-tribalism of Survivor as more about an American attempt to obliterate guilt at the colonial genocide of native Americans than about embracing a multivalent global). MacCannell says:

     

    The touristic ideal of the "primitive" is that of a magical resource that can be used without actually possessing or diminishing it. Within tourism, the "primitive" occupies a position not unlike that of the libido or the death drive in psychoanalysis, or the simple-minded working class of National Socialism which was supposed to have derived an ultimate kind of fulfilment in its labour for the Fatherland. Or the physicist's dream of room-temperature superconductivity and table-top fusion. These are all post-capitalist moral fantasies based on a desire to deny the relationship between profit and exploitation. Let's pretend that we can get something for nothing. The fable is as follows: The return on the tour of headhunters and cannibals is to make the tourist a real hero of alterity. It is his coming into contact with and experience of the ultra-primitive which gives him his status. But this has not cost the primitives anything. Indeed, they too, may have gained from it. Taking someone's picture doesn't cost them anything, not in any Western commercial sense, yet the picture has value. The picture has no value for the primitive, yet the tourist pays for the right to take pictures. The "primitive" receives something for nothing, and benefits beyond this. Doesn't the fame of certain primitives, and even respect for them, actually increase when the tourist carries their pictures back to the West? It seems to be the most perfect realization so far of the capitalist economists' dream of everyone getting richer together. (28-9)

     

    The idea here is to give some guilt-expiating value to the primitive, but not enough to invest in its economic uplift, otherwise even the appearance of it will completely disappear, and not enough for the primitive as an aspect of ourselves to disappear. What the consuming public wants is not the archaic but the image of the archaic, because the archaic itself involves too much suffering. So what is demanded is the illusion of authenticity, which at the very least is the condemnation of artifice via an unhistoricized simulation of nature. It seems that a community always requires enough guilt to retain its members; postmodern communities find just this amount of guilt in a peculiar version of the archaic.

     

    We might witness this structuring of community around a belief in its own value in a host of cultural productions today. The postmodern archaic is not merely located within the putatively primitive, but manifests in other sociohistorically specific ways that buttress the postmodern community’s sense of self: for instance, in the previous generation of technology and culture, within classical and neo-classical “style,” inside woman as “the natural,” as a form of neo-Luddism, and so on. This form seldom takes the extreme neo-Luddite manifestation of the American Unabomber, Kirkpatrick Sale, or Scott Savage, who have all written technophobic manifestos, but certainly utilizes nostalgic, technoskeptical, conspiratorial, and/or neo-rural ideas. To cite just one mainstream cultural example, the conservative Hollywood film You’ve Got Mail provides a resolution to the challenges of corporate monopoly through a saccharine romanticism enabled by e-mail in which the locus of value is to be found in the individual and the quaint corner-shop which caters to a small community.

     

    Nevertheless, Survivor does evince some small degree of postmodernism’s reflexivity, a reflexivity which also helps to account for its popularity. The game embodies a sense of doubt about the valency and meaning of progress and modernity, particularly in their relation to the real, a suspicion that the archaic is ineluctable and that ancient cultures are worth sustaining, if only because they have proved to be sustainable and to respect their environments. Thus the postmodern archaic is an embodiment and measure of alienation from contemporary cultures, an instantiation of doubt about the virtualization and digitalization of the real. Moreover, in the Survivor show, contestants are essentially posed a moral dilemma: whether to embrace capitalist survival whole-heartedly, and inevitably to deceive and betray, or to take an ethical standpoint via another value system, and thereby inevitably lose the game. This is complicated by the fact that embracing capitalism requires extreme cunning; some facade of moral righteousness is required in order not to rile the morals of the other contestants or jury who might vote you off. It is this moral dilemma, the complexity and ambivalence of morality in a community which is motivated by selfish greed, which is important in the popularity of soap-operas and helps explain the success of Survivor.

     

    The show does not end there, for there is a final episode in the Australian season entitled “Back from the Outback,” which details how Survivor affected the lives of the contestants. Here realism is taken one step further, for the virtual archaic is shown not only to have profoundly affected people’s lives, but also to have leaked into the contemporary real. Hence, even if the show is not “real,” it has “real,” mundane, everyday, effects and ramifications; contestants are never the same once they have been on the show. For some contestants this is a boon, for they are depicted as able to capitalize on their media exposure and become celebrities in their own right: from siege by autograph-seekers, to popular ministry, to busy Hollywood schedules, to propositions to pose nude in Playboy. For others, this is a nightmare as media exposé renders their private embarrassments public. For most of the contestants, some combination of dream and horror is their aftershock from the show. Further, the show’s official website is interactive and contains a number of articles critical of the series. Hence the series and its peripheral media do reflect upon its status as a show and its ramifications upon the contemporary mundane. However, those reflections are, like the show as a whole, genuflections to the real, and as such efface the mechanisms of their artifice. The audience is given no clue as to the intertextuality of this hyper-realism, for instance, and hence the series eschews the self-reflexivity so prominent in the postmodernism of Tarantino and Lynch, for instance. Even the self-reflexive aspects of the show are part of the feedback mechanism of the archaic; the lessons learnt in the archaic are brought back to the present in order to establish continuity with the past and hence ratify that present.

     

    Thus it appears that without a vigilant self-reflexivity, almost any cultural production in any genre can reassert dangerously reactionary tropes and mores. I am not suggesting that Survivor is the model for all reality TV, let alone for postmodern digital virtuality, but Survivor shows how virtuality can raise issues of “reality,” authenticity, voyeurism, censorship, sensationalism, ethics, postmodernity, and postmodernism, without responding to these issues in a particularly probing way.

     

    A rather more self-reflexive Hollywood production that is based upon, and satirizes, reality TV is Series 7: The Contenders. Directed by Daniel Minahan, this movie involves contenders having to slaughter each other, a comment on the demands of voyeurism, the quest for an authentic reality, and the supposed appeal of “snuff” movies. The film may also be satirizing special effects films and the notion that the screen may be a cyborg training site. The killing theme suggests that murder is the logical result of the lethal combination of the television networks’ desire to make a huge profit (after all, having contestants is surely cheaper than paying a cast in the long term) and viewers’ voyeuristic desire for realistic sensationalism. The dangerous combination of sensationalism and profit leads to the egotistical exhibitionism that reality TV encourages, and reinforces the dictum that all publicity is good publicity.

     

    However, there seems to be a deeper psychological underpinning to what is happening in Series 7: The Contenders. The heroine, Dawn, is a pregnant pragmatist who will stop at nothing to stay with and protect her baby–a protagonist therefore representing the hapless innocence of the physical archaic in the face of the inhumane progenitors of the game. In other words, the film presents a Survivor-type alternative to thrill-seeking blood-thirsty postmodern consumerism in the organic body, female and individualized. The narrative stages the return of our heavily pregnant heroine to her past where she encounters her first, and only, true love, Jeff. The two of them had been the only two outsiders in their middle American school and had collaborated on a school art video project which we are duly shown: to the doom-laden chords of 1980’s noir band Joy Division’s “Love will Tear Us Apart Again,” the young pair cavort in full gothic attire until, in true liebestod style, Jeff ends up dead on the tarmac. Our heroine, pregnant with the future, finds that she is still in love with the authenticity of her past with all of its castration-complex, love-death alienation. So the film suggests that the alternative to the brutality of postmodern hypermedia voyeurism is to be found in Hollywood’s oldest theme: the triumph of the lonely cowboy, the revenge of the nerd, the justification of the modernist cult of alienation. This version of the postmodern archaic reflexively accepts and ratifies the heart of darkness within the West, and in so doing sublimates that darkness into a noble savagery underlying the palimpsestic layers of culture, nostalgically praising that past while simultaneously killing it. As in The Truman Show, the only thing that can save is the authenticity of human reciprocity, a heterosexual love boat that must inevitably drown in the sunset. Thus, while Series 7: The Contenders, like The Truman Show and a number of other examples of “cinema vérité” which expose the truth via virtuality, ostensibly exposes the dynamics of media hype, but its moral grandstanding and revivification of tropes of archaism tend to replicate the melodramatic individualism of the very hype it critiques. Viewers of such exposés can exult along with the director in their intellectual superiority to the mindless consumers of docu-soap operas.

     

    Another film to treat such themes is The King Is Alive, which takes the familiar concept of archaic survival, and runs with it in a characteristic yet challenging way. First, the film, directed by Kristian Levring, is part of the “Dogme 95” concept developed by Levring along with Lars von Trier, Thomas Vinterberg, and Søren Kragh-Jacobsen: a concept that eschews all post-production and anything that is not found on location. This means that the film, shot chronologically on three handheld digital cameras, is characteristic of the survival genre. The plot consists of the stranding of a bus-load of Western tourists in the dune sea of Namibia; indeed a desert island, but without the relief of a blue sea counterpoint to its sand waves. These castaways, as in the Robinson Crusoe tradition, are not alone; the single native inhabitant of a deserted village where they find shelter acts as a choric voice to their attempts to evade the boredom and insanity that accompany their unhingement from modernity and its distractions. These attempts assume an antic disposition via the staging of King Lear. Lear seems to have been chosen because it is a play that deals with the loss of a kingdom, but also because it turns around a tragic moment in which the King asks of language that it embody accurately the realm of feeling and imagination when he insists that his inheritance will devolve to the daughter best able to “say” her love:

     

    Tell me, my daughters
    Since now we will divest us both of rule,
    Interest of territory, cares of state,
    Which of you shall we say doth love us most,
    That we our largest bounty may extend
    Where nature doth with merit challenge. Gonerill,
    Our eldest born, speak first. (Shakespeare, 1.1.48-54)

     

    Cordelia refuses this demand that the language of “rule . . . territory . . . state” embody love, and in so doing rejects the demand for verisimilitude and institutes the tragic action of the play. Her rejection is motivated not only by a child’s rebelliousness, but also by the refusal to use any language, let alone the glossy language of the court, for she feels her experience and love have altogether more gravitas: “I am sure my love’s / More ponderous than my tongue” (1.1.77-78). It would seem that this episode from King Lear has been chosen to cast a reflexive comment upon the plot of the film itself. Plots of this type hold out the promise of verisimilitude, of testing culture against archaic nature, through the castaway theme. Culture, the play within the play, holds out the promise of a defense against, or triumph over, nature through realistic accuracy and resolution, but is unable to deliver on this promise because it is never able to embody the real in speech. The demand that language, culture, embody the actual inevitably leads to tragic results.

     

    In the play, as in the film, these tragic results are a ramification of the linking of sexuality and identity through language. Confronted with the shallowness of languages, and hence exposed to self-revelation and consequent sexual insecurity, a number of the characters attempt to avoid self-revelation through sexual conquest. In the first case, a Western woman attempts to “make her husband jealous” by seducing the black driver of the bus. Her assumptions here are sexist in the sense that she imagines that all men are instantaneously sexually available, and racist in that black men are imagined as particularly sexual and sensuous. She even has the effrontery to tell the driver that her purposes are entirely selfish and then ask whether she is a “bitch.” However, her attempt to elevate her own esteem by subjecting the male backfires when he forces her to her knees in a submissive posture that inverts her original intent, reducing her to anger and further verbal abuse.

     

    In the second case, the woman’s husband precipitately beats the black bus driver for sleeping with her, not realizing that the act was unconsummated. He thus exposes his insecurity as well as an outlook no less racist and sexist than his wife’s–leading her to reject him as a “pig.” These episodes are brought to culmination when the aloof father of the rejected husband sleeps with a flirtatious younger American woman and is deluded by her enthusiastic sexual response into a kind of erotic egotism. In other words, a certain kind of sexualized self-esteem requires realistic embodied confirmations. When she tells him that she faked her response and that she finds him disgusting, his new found inflated ego implodes and he murders her and commits suicide. It is as the other travelers mourn these deaths that their rescuers arrive, an unnamed party of Namibians. The suggestion is, I think, that rescue from the demands for realism, from the external confirmations and embodiments required by eroticized egotism, has as a prerequisite the death of that ego and the silencing of that culture.

     

    While it may be thought that the film takes an arrogantly superior stance to all of these selfish shenanigans, it contrasts with Series 7 in refusing to grant the intellectual a superior status or elite position. This intellectual, the French woman Romane Bohringer, refuses to play Cordelia and join in the action of the play, but despite her critical detachment and skepticism, she is never installed in the position of reliable commentator. The role of commentator falls, rather, to Peter Kubheka, the native inhabitant of the ghost town, who says that the foreigners “speak without speaking to each other” and do so in order to avoid the voice of the desert. In this his commentary is clearly accurate, and is the voice left after the hapless visitors have departed. This is one digital virtuality that offers no easy cultural certitudes for viewers.

     

    The postmodern archaic and hyperrealism are so prevalent in contemporary cultural production, as evident in the especially glaring example of Survivor and in these two rather more reflexive examples, partly because of cultural and corporeal anxiety. Modernity and postmodernity instantiate such accelerated change that anxiety and vertigo are inevitable by-products. This anxiety manifests in viewers who, because they are spending so much of their lives in front of the television or computer screen, demand increasing verisimilitude from their reality generators. It also manifests within the media industry, which is keen to establish its credentials as well as to make money and hence foists, as it were, verisimilitude upon viewers. The result of this is that, on the one hand, there is so much actuality on television that it has tainted the less realistic footage, so that people unconsciously absorb much of what they are watching as true; while on the other hand, the fictional material has similarly pervaded the real so that the real always seems to have an element of the bizarre and predictable about it. Indeed this interpenetration of culturally coded perception and reality may be an index of the predominance of visual literacy in the late twentieth and early twenty-first centuries.

     

    The postmodern audience has become predictable in its demand for unpredictability, yet also requires recognition and comfort as an antidote to anxiety. This demand for the illusion of spontaneity and for comfort is often captured by the collaging of different subtexts, many of them not culturally or historically innocent, in the creation of a “simulacrum” in which a particular consciousness, national in the case of Survivor, is technologically embodied and hence confirmed. The illusion of spontaneity normalizes the panopticon, normalizes surveillance, and the postmodern archaic normalizes culture and patterns of consumption. Even where digitalization enters the realm of the fantastic, it is seldom to confirm the existence of realms of the imagination, but rather to reify the products of the imagination, and, ultimately, to sell them. Of course, what is elided by this illusion is the suturing that sews these sub-texts together and the ideological underpinnings of these sub-texts, the dynamic of the links so to speak. So in a sense, traditional film and literary study and criticism, which are all about exposing the ideological underpinnings of suturing, are more appropriate than ever before. Of course, traditional film/literary critical models now need to be more flexible, multivalent, and open to a far greater variety of texts than ever before.

     

    To conclude, the problem with responses to the dispersal of the subject and the ubiquity of surveillance that tend to characterize contemporary cultural production is that the old verities can sneak in through the back door. As fragmentation and dispersal occur, so anxiety and nostalgia flourish; the dream of depth and authenticity reasserts itself. So virtuality creates its own critique via a postmodern realism, and ironically that critique helps shore up virtuality (indeed, digital communication seems particularly suited to render critique, debate, and difference as display rather than as incommensurability). Within virtuality there is an apocalyptic fear of floating too far from the visceral, and hence ironically a whole strand of current cultural production shies away from the new and shelters within the realist. I think that interest in the archaic is vital at this sociohistorical juncture, because without thinking of ourselves in different spaces in the far-distant past and future we have very little perspective on ourselves now. What we understand by the archaic should not be a romanticized psychological projection, nor a creation of the very corporations whose existence threatens the archaic. Moreover, the future of realism seems assured in the sense that the further away from the archaic and corporeal we move, the more we will need to return to it to ratify our progress. The further from the archaic we journey, the more regular and insistent our trips “back” to it have to become. These trips have to be made because without them we have no sense of “progress”; the body itself enforces them by reminding us of our physicality. As Marianna Torgovnick notes, “our interest in the primitive meshes thoroughly, in ways we have only begun to understand, with our passion for clearly marked and definable beginnings and endings that will make what comes between them coherent narrations. A significant motivation for primitivism in modernism, and perhaps especially in postmodernism, is a new version of the idyllic, utopian primitive” (245). The postmodern archaic is likely to increase in future, and realism is unlikely to disappear. The tribe has spoken.

     

    Works Cited

     

    • Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York: Semiotext(e), 1983.
    • Bourdon, Jérôme. “Live Television is Still Alive: On Television as an Unfulfilled Promise.” Media, Culture & Society 22.5 (2000): 531-56.
    • Fetveit, Arild. “Reality TV in the Digital Era: a Paradox in Visual Culture?” Media, Culture & Society 21.6 (1999): 787-804.
    • Hayles, N. Katherine. “Corporeal Anxiety in Dictionary of the Khazars: What Books Talk About in the Late Age of Print When They Talk about Losing their Bodies.” Modern Fiction Studies 43.3 (1997): 800-20.
    • Hayter, Sparkle. “The Diary of Sue Peaner, Marooned! Contestant.” Tart Noir. Eds. Stella Duffy and Lauren Henderson. London: Pan, 2002. 294-302.
    • Jameson, Fredric. “On Magic Realism in Film.” Signatures of the Visible. London: Routledge, 1992. 128-54.
    • The King Is Alive. Dir. Kristian Levring. Perf. Miles Anderson, Romane Bohringer, David Bradley, David Calder, Bruce Davison, Brion James, Peter Kubhka, Vusi Kunene, Jennifer Jason Leigh, Janet McTeer, Chris Walker, Lia Williams. MGM, 2001.
    • Kroker, Arthur, and David Cook. The Postmodern Scene: Excremental Culture and Hyper-Aesthetics. Montreal: New World Perspectives, 1996.
    • Langer, John. Tabloid Television: Popular Journalism and the “Other News.” London: Routledge, 1998.
    • MacCannell, Dean. Empty Meeting Grounds: The Tourist Papers. London: Routledge, 1992.
    • Nash, Christopher. World Postmodern Fiction: A Guide. London: Longman, 1993.
    • Odin, Jaishree K. “The Edge of Difference: Negotiations between the Hypertextual and the Postcolonial.” Modern Fiction Studies 43.3 (1997): 598-630.
    • Pratt, Mary Louise. Imperial Eyes: Travel Writing and Transculturation. London: Routledge, 1992.
    • Series 7: The Contenders. Dir. Daniel Minahan. Perf. Brooke Smith, Marylouise Burke, Glenn Fitzgerald. Blow Up Pictures, 2001.
    • Shakespeare, William. King Lear. London: Penguin, 1988.
    • Survivor. Seasons 1-5. Survivor: Thailand (2002); Survivor: Marquesas (2002); Survivor: Africa (2001); Survivor: The Australian Outback (2001); Survivor: Pulau Tiga (2000). CBS.
    • Torgovnick, Marianna. Gone Primitive: Savage Intellects, Modern Lives. London: U of Chicago P, 1990.
    • Williams, Raymond. “Dominant, Residual and Emergent.” Marxism and Literature. Oxford: Oxford UP, 1977. 121-127.

     

  • Reading Cultural Studies, Reading Foucault

    Rimi Khan

    School of Media Communication and Culture
    Murdoch University, Western Australia
    rimikhan@hotmail.com

     

    Because there is commonly such a buzz of contradictory comment going on around him–as his friends and enemies push him to the left, right, and centre or sometimes off the political spectrum altogether–Foucault could assert that it proves what he contends: conventional categories really don’t fit him; he is posing an entirely new and different set of questions about a whole range of sometimes unthought of matters. . . . The academic effort to appropriate, correct, or dismiss Foucault has gone on even more intensely–sometimes brilliantly, sometimes stupidly , and sometimes with troubling seriousness.

     

    Paul Bové, “The Foucault Phenomenon” viii

     
    In a commentary on cultural studies’ “theoretical legacies,” Stuart Hall describes the field as “a project that is always open to that which it doesn’t yet know, to that which it can’t yet name” (“Legacies” 278). Proclamations of this sort are easy enough to find throughout cultural studies’ accounts of its own history–they serve as a generalized reference to its self-image as an interdisciplinary, and, consequently, self-reflexive set of pedagogical and investigative practices. Given the currency that such thinking still carries within cultural studies, it is important to continue to ask what it is actually possible to say and do in cultural studies’ name.1 In particular, I want to consider, after Meaghan Morris, “how it comes about that people keep posing problems at a level of generality where you simply can’t solve them” and, in doing so, to point toward less burdened modes of analysis that enable cultural studies to be politically significant in new ways (Hunter, “Aesthetics” 371).

     

    On these questions, I have found Foucault’s work–and a review of the ways in which his work has been received within cultural studies–to be particularly instructive. Deleuze writes that “Foucault is not content to say that we must rethink certain notions; he does not even say it; he just does it, and in this way proposes new co-ordinates for praxis” (30). This article considers some of the ways these investigative possibilities have been put to use within cultural studies. My aim is, in part, to document encounters that precede and enable this present set of counterpoints, but also, I hope, to intervene in this awkward intellectual terrain.

     

    Relatively little has been written on the history of appropriations of Foucault within cultural studies.2 Some works–for example, Gavin Kendall and Gary Wickham’s Understanding Culture: Cultural Studies, Order, Ordering and Tony Bennett’s Culture: A Reformer’s Science–have examined secondary readings of Foucault, commenting generally on cultural studies’ attempts to use Foucault’s insights on power within a broadly Gramscian framework. Both of these works are concerned to demonstrate the problems involved with early Foucauldian influence. As Bennett contends,

     

    in effect, Foucault was admitted into the cultural studies roll-call only on the condition that he brought no troublesome Foucaultian arguments with him. The role accorded his work was not that of reformulating received problems so much as being tagged on to arguments framed by the very formulations he questioned. . . . Quoted extensively, he was used very little. (Culture 63)

     

    I go on to elaborate on such arguments by detailing some of the more revealing moments of this fraught history.

     

    Structure, Power and the “Marx Problem”

     

    In his recitation of the “story” of cultural studies, Hall notes that cultural studies’ adaptation of Marxism involved a certain degree of friction:

     

    There never was a prior moment when cultural studies and Marxism represented a perfect theoretical fit. . . . There was always-already the question of the great inadequacies, theoretically and politically, the resounding silences, the great evasions of Marxism–the things that Marx did not talk about or seem to understand which were our privileged object of study: culture, ideology, language, the symbolic. . . . That is to say, the encounter between British cultural studies and Marxism has first to be understood as the engagement with a problem–not a theory, not even a problematic. (“Legacies” 279)

     

    Procuring a theory of “culture” from Marxism requires that these gaps or “great inadequacies” be resolved. In his Cultural Marxism in Postwar Britain, Dennis Dworkin provides a historical account and details the political and intellectual climate surrounding some of these revisions of Marxism within the cultural studies tradition. E.P. Thompson’s brand of social humanism, for instance, is largely described as a product of the prevailing modes of party politics and their relationship with intellectuals, and an attempt to work against the rigid economism characteristic of leftist orthodoxies of the time. The terms of such debates have not been displaced, however; the discursive limits that defined the intellectual controversies that Dworkin describes should figure significantly if we are to make sense of cultural studies’ eventual uptakes of Foucault.

     

    Raymond Williams is, of course, another crucial figure in this reconstitution of “culture” within British postwar sociological analysis. Williams’s influences vary, and the development of his thought cannot be reduced to a deliberate, straightforward “reworking” of Marxist cultural thought. Williams’s intellectual work carries an urgency informed by his experiences of English working-class life. In the face of this sense of immediacy, the “levels” of culture and various categories of Marxist analysis appear abstract. In this framework, the concept “culture,” as Williams argues in Culture and Society, is conceived within the context of a weak use of “superstructure.” Here “culture” refers to a “general social process” or “whole way of life” and allows for a more ready inclusion of the category of experience (273). By enabling a more pragmatic and quotidian meaning of and use for “culture,” Williams’s quasi-anthropological delineation of “culture” as a “whole way of life” opens up an important analytical space for British cultural studies.

     

    Williams’s later work gives the fluidity implied by this formulation a more theoretical substantiation and speaks in more decisively Marxist terms. For instance, in his momentous “Base and Superstructure in Marxist Cultural Theory,” Williams explains at length the dilemmas raised by a literal use of the base-superstructure metaphor. By suggesting the possibility of a synthesis between mechanisms of production and “ordinary” forms of consumption and cultural practice, he attempts to account for “deep contradictions in the relationships of production and in the consequent social relationships” (5). What Williams proposes, then, is a revaluation of the concepts of “base,” “superstructure,” and “determination” to include some consideration of “social intention,” while retaining the notion of “social being determining consciousness” (7).

     

    For Williams, Gramsci’s work goes some way toward resolving this tension by offering a useful stylization of Marxism and a new theoretical dimension to his earlier positions. It is especially his notion of “hegemony” that mitigates a rigid Marxist reductionism and guarantees the necessary element of “intention.” “Hegemony” must “continually be renewed, recreated and defended,” so that domination is seen to occur only through the negotiation and shaping of popular consent (“Base” 8). It is this “productive” aspect of power that facilitates cultural studies’ examinations of the contradictory relationships between commodities, meaning, and pleasure–a question that “classical” Marxism can barely pose, let alone answer.

     

    However, as John Frow and Meaghan Morris point out, the apparent merging of idealist and materialist positions that informs Williams’s concept of “culture” entails a certain theoretical paradox. It is premised, they argue, on an “opposition (between culture and society, between representations and reality) which is the condition of its existence but which it must constantly work to undo” (xx). So Williams cannot attempt to reconfigure the relations between “art” and “society” or “culture” and “society” without reifying these very dichotomies. These are well-worn debates, and I do not wish to suggest that the diversity of cultural studies work today–in its various geographical and interdisciplinary inflections–can be traced back to Williams’s work as a single point of origin. But the contours of these debates linger; this alignment between “culture” and “representation” generates an anxiety that continues to have a bearing upon efforts to theorize a material, determining structure and its relationship with an agential, representing subject.

     

    Foucault, it turns out, is situated by cultural studies in a space created by a Gramscian understanding of domination and informed by this structure/agency problematic. John Fiske argues that Foucault “shares with ideology theorists the attempt to account for the crucial social paradox of our epoch–that our highly elaborated social system of late capitalism is at once deeply riven with inequalities and conflicts of interest yet still manages to operate smoothly enough to avoid the crises of antagonism that might spark revolution” (161). Dworkin indicates the degree to which, within the British New Left of the 1970s, the work of figures like Althusser, Barthes, and the intellectuals associated with the Frankfurt School is conflated under the heading “Western Marxism.” Despite the varied positions these continental cultural Marxisms actually occupy, they have been regularly perceived as belonging to a relatively cohesive intellectual tradition and as constituting a singular alternative to the prevailing frameworks of British cultural inquiry. Accordingly, even if Foucault’s divergences from Marxism were to some extent acknowledged, he has, by and large, been deemed to be Marxist in his concerns.3

     

    So it is apparently only by refracting Foucault, particularly his writing in Discipline and Punish, through this Marxist prism that his work is made palatable for certain formations of cultural studies. Geoff Danaher, Tony Schirato, and Jen Webb, for example, in Understanding Foucault, remind readers that “all these disciplinary procedures, and the panoptic gaze, emerged at an historic moment when it had become necessary to produce a pliable, healthy and sober workforce to service the factories of the Industrial Revolution” (57). But by positing “the factories” as a primary determinant for the techniques employed in other domains of discipline, Danaher, Schirato, and Webb engage in what Foucault calls the “simple activity of allocating causality” (“Politics” 58). They invoke a reductionist logic, incommensurate with Foucault’s aim to “render apparent the polymorphous interweaving of correlations” (58). It may be that his description of political technologies as a disparate set of methods prompts cultural studies to account for the incoherent, often contradictory workings of power to some degree. However, if Foucault’s contention that power relations are “not univocal” is to be taken seriously, then any coherence between prisons, schools, hospitals, and factories must be regarded as material patterns of effects of domination. These regularities cannot finally be ascribed to some overall systematicity or generalized source of “ideological control.”

     

    In fact, Foucault’s work can be read to suggest that power exists only as “effects” that are “manifested and sometimes extended by the position of those who are dominated” and that are constituted by a range of techniques and maneuvres “that one should decipher in a network of relations, constantly in tension” (Discipline 26-27). These relations “are not univocal; they define innumerable points of confrontation, focuses of instability, each of which has its own risks of conflict, of struggles, and of an at least temporary inversion of the power relations” (27). Given this instability, power, for Foucault, must be apprehended in its local instantiations or as it exists as particular regimes of practice. Moreover, Foucault asserts that these regimes are not “governed by institutions” or “prescribed by ideologies . . . but, up to a point, possess their own specific regularities, logic, strategy, self-evidence and ‘reason’” (“Questions” 5). “Economic” formations, then, do not determine, but are preceded by, and are just one effect of, these rationalities.

     

    Cultural studies’ concern with popular-cultural sites and “everyday” texts is regularly legitimated–often with Foucault’s concept of “micro-power” as a key reference point–by claiming their connection with “macro” structures of domination and subordination.4 In his discussion of “micro-power” in Discipline and Punish, however, Foucault is wary of lapsing into any straightforward equation of reproduction with systems of rule (27). Rather, according to Hall, Foucault

     

    adopts so thoroughgoing a scepticism about any determinacy or relationship between practices, other than the largely contingent, that we are entitled to see him . . . as deeply committed to the necessary non-correspondence of all practices to one another. From such a position neither a social formation, nor the State, can be adequately thought. (“Paradigms” 71)

     

    However, there are many examples one can cite to suggest that the kinds of associations that exist between manifold instantiations of power were, in fact, at times central to Foucault’s concerns:

     

    The problem that now presents itself . . . is to determine what form of relation may be legitimately described between these different series; what vertical system they are capable of forming; what interplay of correlation and dominance exists between them . . . in what distinct totalities certain elements may figure simultaneously. (Archaeology 10)

     

    What this indicates is a desire to investigate and describe unities, regularities, continuities, and discontinuities as they appear in their positivity; to respond to Hall, then, it is not the “necessary non-correspondence” but the non-necessary correspondence of practices that Foucault is committed to. And this does not constitute a theorization of determination that assumes the nature of the relationship between “micro-powers” and state power and then posits this as proof of the revolutionary potential of “micro-struggles.”

     

    It is worth acknowledging that cultural studies’ turn to Gramsci was, to a large degree, precipitated by what Dworkin describes as “the failures and disappointments of the late 60s and early 70s” (141). He explains that the critical left began to enjoy an unprecedented visibility within British humanities departments, particularly within newer universities and former polytechnics, as part of what appeared to be a process of more general cultural upheaval during the 1960s. But any promise of a serious and enduring political reorientation toward the left was hampered by the kinds of economic and institutional restructuring entailed in the shift toward conservative, liberal governance in the late 1970s. For Hall, Gramsci’s work helps account for these contradictions and disappointments, and it is Gramsci, rather than Foucault, who provides a pertinent framework for understanding and contesting Thatcherism as a cultural and political force.

     

    It is interesting to note, though, that despite Hall’s reservations, expressed in his “Two Paradigms” article, about the ability of Foucault’s work to intervene usefully in contemporary British politics, his work had begun to be used by some at the time (or what has since been referred to as the “governmentality school” of social and political inquiry) to do precisely this. Articles that appeared in journals such as I&C in the late 1970s and early 1980s and later in Economy and Society, (some of which were collected in the influential anthology, The Foucault Effect: Studies in Governmentality) by figures such as Colin Gordon and Nikolas Rose reframed the liberal state by tracing the mobile systems of relationships that provided the conditions of possibility for different orders of knowledge–and in doing so, enabled an analysis of how “governed individuals are willing to exist as subjects” (Gordon, “Governmental” 48). And rather than noting a kind of disabling scepticism in Foucault’s work, the contingent nature of the relations of knowledge described by Foucault is cited as a source of optimism. It indicates the “strategic reversibility” of power relations and the possibility of political counterdemands rather than conceiving of such relations as the inevitable historical outcomes of the liberal state (Gordon, “Governmental” 5). While I go on to discuss some further implications of the “governmentality school” later, I think that this alternative intellectual trajectory indicates that cultural studies’ turn to Gramsci was not a necessary or inevitable response to the political conditions of the time. In fact, this Gramscian reading of Foucault elaborated a Marxist cultural politics, the very terms of which Foucault’s work sets out to question.

     

    From Discourse To Ideology

     

    In order to facilitate a textuality crucial to its examination of cultural forms, cultural studies’ stylization of Marxism has also involved what Hall labels a turn to the “linguistic metaphor” (“Legacies” 283). The contribution of Barthes, Althusser, and Lacan to British cultural studies in the late 1970s could be seen, for example, in the film journal Screen, and in a more general centering of “ideology” and “representation” within the project’s theoretical landscape. In “Two Paradigms,” Hall famously describes how the infiltration of (post)structuralism into the cultural studies toolbox overcame a previous inability to theorize the symbolic as a site of power and identity. This weakness is exemplified for him in the work of Williams, Richard Hoggart, and E.P. Thompson–broadly termed “culturalism”–and their emphases on empiricism and human agency. But while Hall argues that structuralism’s advantages lie in its critique of humanism, he also points out that it risks abstraction and a lack of historicity (“Paradigms” 67). Hall thereby poses the need for a “method which takes us outside the permanent oscillations between abstraction/anti-abstraction and the false dichotomies of Theoreticism vs. Empiricism which have both marked and disfigured the structuralism/culturalism encounter to date” (68). But these two paradigms are not as internally homogeneous as Hall supposes, and it is his very postulation (and reification) of this binary between structure and agency that produces an ongoing indeterminacy in cultural studies.

     

    Foucault’s notion of “discourse” offers one resolution to this dilemma. The operation of this concept is two-fold. On the one hand, it is aligned with a more general structuralist endeavor–Foucault’s account of regulating and regulated discursive formations is apparently comparable to “some of the classical questions which Althusser tried to address through the concept of ‘ideology’–shorn, of course, of its class reductionism, economistic and truth-claiming overtones” (Hall, “Introduction” 11). On the other hand, there is some recognition of the degree to which Foucault’s notion of “discourse” is deployed to think about non-linguistic mechanisms. As Foucault suggests,

     

    discourse is constituted by the difference between what one could say correctly at one period (under the rules of grammar and logic) and what is actually said. The discursive field is, at a specific moment, the law of this difference. It thus defines a certain number of operations which are not of the order of linguistic construction or formal deduction. . . . It consists of a whole group of regulated practices which do not merely involve giving a visible outward embodiment to the agile inwardness of thought. (“Politics” 63)

     

    Consequently, Foucault’s singularity is seen to rest on his effort to place textual analysis in its social and historical context.5 Or, as Frow and Morris put it, Foucault provides a more “institutionally anchored model of discursivity than [is] available in other, language- and text- centred notions of discourse” (xxvi). But while these differences are acknowledged, the belief that Foucault is interested in the realm of the symbolic remains. The result of this bifurcation is that “discourse” is regularly mobilized, not simply to analyze practices, but to turn practices into texts. This translation of “discourse” from a strategic ensemble of practices into a site of formal analysis is exemplified by Danaher, Schirato, and Webb, for whom the term “generally refers to a type of language associated with an institution, and includes the ideas and statements which express an institution’s values” (x). It is this presumed imbrication of “discourse” with processes of signification (and as an expression of “values”) that brings it under the rubric of ideology.

     

    However, Foucault’s notion of “discourse” circumvents the series of binaries–that is, between truth and falsity, reality and representation, and the symmetrical relationship between self and other–from which the concept of ideology derives its potency.6 “Discourse” entails a necessary relation of knowledge and power that means it cannot be employed to describe the false distortion and masking of a putatively “true” configuration of power. Nonetheless, the concept is routinely invoked and enlisted in cultural studies to make sense of the interplay between cultural practices, power, and meaning.

     

    In Frow’s analysis of The Condition of the Working Class in England, Engels’s study is not read as an empirical account but reinscribed as a semiosis of working-class districts in nineteenth-century Manchester. By claiming that “ideology” does not have to resort to an equation of “truth and error” or to an objective, extra-discursive reality, Frow attempts to reconcile his approach with Foucault’s writing on “discourse.” He suggests that by relativizing any critique “to the position of power from which it is enunciated,” “ideology” can be conceived as a “function” or “state” of “discourse” (“Discourse and Power” 194). To arrive at this solution, however, Frow contends that “the signifieds of discourse . . . are generated not from an extra-discursive real to which we may appeal as a final authority but within specific processes and practices of signification”(199). In order to argue against a “dichotomous conception of a ‘material’ economic base and an ‘immaterial’ superstructure,” Frow declares that “all social systems are semiotic systems producing significations realised in material sign-vehicles” (201-2). So everything is seen to be contained within the text, and “discourse” is used to describe these relations of signification.

     

    Yet, Frow’s subscription to an approach in which the social is understood by way of the text potentially involves an indeterminacy, characteristic of what Foucault calls “commentary”:

     

    By a paradox which it always displaces but never escapes, the commentary must say for the first time what had, nonetheless, already been said, and must tirelessly repeat what had, however, never been said. . . . [It] allows us to say something other than the text itself, but on condition that it is this text itself which is said, and in a sense completed. (“Order of Discourse” 58)

     

    “Discourse,” for Foucault, refers to a strategic field of practices, procedures, and operations “not of the order of linguistic construction or formal deduction” (“Politics” 63). But instead of defining “discourse” as a finite practical domain, Frow puts it “at the disposal of the signifier,” resulting in endless acts of interpretation that are, inevitably, a form of repetition (“Politics” 66). And this apparent epistemological dead-end is characterized by Hall as a theoretical drive that provides a defining impetus for cultural studies work:

     

    until one respects the necessary displacement of culture, and yet is always irritated by its failure to reconcile itself with . . . other questions that cannot and can never be fully covered by critical textuality in its elaborations, cultural studies as a project, an intervention, remains incomplete. (“Legacies” 284)

     

    The corollary of this “displacement of culture” is that questions of “theory” and “politics” are held “in an ever irresolvable but permanent tension” (284). For Hall, it seems, this tension fuels cultural studies’ sense of historical urgency–it is a “necessary displacement” and one that must be respected and embraced. Both Hall and Frow’s remarks are symptomatic of a search for what Foucault calls a

     

    locus of a discourse . . . whose tension would keep separate the empirical and the transcendental, while being directed at both; a discourse that would make it possible to analyse man as a subject, that is, as a locus of knowledge which has been empirically acquired but referred back as closely as possible to what makes it possible. (Order 320)

     

    For Foucault, attempting to work outside what he calls the “empirico-transcendental doublet” involves analyzing discourses and their conditions of existence by supposing only the fact of their historical appearance.

     

    However, it is in the gap between these conditions or systems of emergence and the desire to map discourses in their historical specificity that there appears some ambiguity in Foucault’s work. This tension goes some way toward explaining the appropriation and “aestheticisation” of his ideas in cultural and literary studies. Foucault’s early interest in literary figures such as Roussel and Artaud lends itself to such a reading. Simon During’s Foucault and Literature, for example, assesses the implications of Foucault’s work with respect to theorizing the relationship between language and subjectivity. Foucault’s “literary phase” is said to evince a belief in writing that “aims to clear an ideological space; a space for action, experimentation, chance, freedom, mobility” (7). And while it is Foucault’s later work that has most currency in cultural studies, even this, according to During, displays a “residual or manifest aestheticism” and can be put to use in a study of the transgressive possibility of texts (10).

     

    During’s reading relies on the ambiguity in Foucault’s texts concerning the function of the term “discourse.” In his analysis of the concept, Hunter describes the local and non-systemic nature of the relations between institutional operations, surveillance mechanisms, economic imperatives and other regulatory regimes, described in Foucault’s Madness and Civilisation. He contends that these groups of relations are later rendered systematic and formal through Foucault’s delineation of them as “discursive formations” (“Dispositif” 44). Hunter argues that by subjecting these positive descriptions to a “‘critical’ reflection” and attempting to recover their underlying rules or “so-called conditions of possibility,” Foucault displays “the symptoms of an incomplete struggle to expel structuralism rather than its calm supersession” (43). The point is that these hesitations and inconsistencies–conveniently enough for cultural studies–enable “discourse” to “reappear as the general mechanism for the articulation of . . . otherwise contingent relations–as the synthetic medium of their systematicity and necessity” (45). Importantly, as Hunter shows, Foucault later shifts his focus from accounts of discursive formations to localized descriptions of dispositifs or apparatuses involving a more dispersed array of organizational forms.

     

    The effect of this shift in Foucault’s work and his own remarks against “commentary” and textualism is that the products of “discourse” (or what Foucault sometimes refers to as “statements”) belong to the order of “events,” rather than to that of language.7 Foucault explains the approach he calls “eventalisation”:

     

    It means making visible a singularity at places where there is a temptation to invoke a historical constant, an immediate anthropological trait, or an obviousness which imposes itself uniformly on all. . . . A breach of self-evidence, of those self-evidences on which our knowledges, acquiescences and practices rest. . . . Secondly, eventalisation means rediscovering the connections, encounters, supports, blockages, plays of forces, strategies and so on, that at a given moment establish what subsequently counts as being self-evident, universal and necessary. In this sense, one is indeed effecting a sort of multiplication or pluralisation of causes. (“Questions” 6)

     

    This multiplication of causes involves allowing for the interaction of forces of transformation, regularity, discontinuity, and dependence that constitute an event. It requires a certain “polymorphism”–in the elements that are brought into play, of the kinds of relations described, and in its domains of reference (7). An account of this multiplicity of processes must recognize the unpredictability of their interrelation and avoid ascribing objects “to the most unitary, necessary, inevitable and (ultimately) extra-historical mechanism or structure available”–the most common of which are, Foucault suggests, “an economic mechanism, an anthropological structure or a demographic process” (7).

     

    Foucault requires his notion of “discourse,” then, to consider the historicity of the organizational forms that it describes. As I have indicated above, and as Dennis Dworkin’s account of the development of British cultural Marxism shows, disputes over the role of “concrete” historical inquiry within cultural studies have traditionally been split according to the structure/agency binary. So empirical historical work is censured for its naïve humanism and formal analysis attacked for its abstraction from “everyday” struggles.8

     

    The polarity informing these narratives seems to be irreconcilable with Foucault’s notion of the “event.” For Foucault, the “event” is always manifest at the level of materiality but is nonetheless “an effect of, and within, a dispersion of matter” (“Order” 69). Foucault’s work does not set out to “overcome a ‘conflict’ or ‘opposition’ between structure and historical development” (Archaeology 11). Rather, the “event” is intended to dissolve the binary–to account for historical transformations that operate outside the dialectic of the empirical and transcendental. For cultural studies, it seems, there may be genuine practical restraints that preclude this kind of historical work from taking place; the kind of intellectual work Foucault envisages requires “a knowledge of details and . . . depends on a vast accumulation of source material” (“Nietzsche” 140), but, as Morris contends, “methodological desire alone is rarely enough to carry amateurs through thick textual slabs of detail” (“Introduction” 5). Yet, there remains a need to reconstitute “history” so it is not relegated to the role of mere scene-setting. Foucault raises the question of whether the concept of “discourse”–the very tool that is used to facilitate a critique of empiricism–can be mobilized to perform a descriptivist mode of analysis. As we will see, the problems that this incitement, to “restore to discourse its character as an event,” poses for cultural studies are considerable (Foucault, “Order” 66).9

     

    Agency and Butler’s Foucault

     

    Into the 1980s, the elaboration of cultural studies’ critical framework that enabled it to move to the various avatars of identity politics also accorded Foucault’s insights a renewed significance. Reflecting on the pertinence of the concept of “identity” to cultural studies, Hall intimates the dilemma that it presents. The notion of a unitary or originary subject has, as he suggests, undergone an important destabilization, but remains crucial “to the question of agency and politics”; it is “in the attempt to rearticulate the relationship between subjects and discursive practices that the question of identity recurs” (“Introduction” 1-2). It is in respect of this oscillation–that is, both the necessity of “identity” and the danger of its drive toward essentialism–that Foucault’s work is mobilized by cultural studies.

     

    What cultural studies requires, and what, according to Hall, Foucault is seen to provide, “is not an abandonment or abolition of ‘the subject’ but a reconceptualisation” (“Introduction” 2). In an overview of Foucault’s work, Lois McNay, for example, is anxious to show how Foucault informs “feminist and postcolonial critiques of Enlightenment thought as a highly gendered and ethnocentric construct that implicitly naturalises a white, masculine perspective,” thereby clearing a space “for radically ‘other’ ways of thinking and being” (4-5). But the apparent ease with which Foucault is written into this discourse obscures some of the underlying inconsistencies this formula actually entails.

     

    Judith Butler’s contribution to feminist cultural studies is substantially indebted to her reading of the first volume of The History of Sexuality. An example is her work on the transgressive potentiality of gender performativity, where the assumption of a “sex” occurs through significatory practice.10 However, its reception has been marked with a kind of ambivalence–as Vicki Bell points out, “the temporal performative nature of identities as a theoretical premise means that more than ever, one needs to question how identities continue to be produced, embodied and performed, effectively, passionately and with social and political consequence” (2). The challenge for Butler, here, is to ensure that her framework is not a merely speculative one and to “think” agency while retaining the constitutive nature of gender relations.

     

    The apprehension surrounding the deployment of a subject exposes Butler (and poststructuralist feminisms in general) to accusations of theoreticism–where conceptual sophistication is said to compromise a capacity to engage with “concrete” political struggles and the concerns of “real” women. The central problematic for Butler in Bodies that Matter is that if, as Foucault argues, “sex” is a “regulatory ideal,” how is it possible to understand the materiality of “sex”? And, crucially, if norms of sex, gender, and desire are simply performed (that is, they are deliberately or consciously enacted), then how can one avoid a latent version of humanism?

     

    It is in the effort to locate the source of authentic resistance that Butler considers this statement from Foucault:

     

    It is the agency of sex that we must break away from, if we aim–through a tactical reversal of the various mechanisms of sexuality–to counter the grips of power with the claims of bodies, pleasures, and knowledges, in their multiplicity and their possibility of resistance. The rallying point for the counterattack against the deployment of sexuality ought not to be sex-desire, but bodies and pleasures. (History 157, qtd. in “Revisiting” 11, 13-14)

     

    But this injunction presents Butler with a number of obstacles, largely concerning the ontological status of “bodies and pleasures”:

     

    These bodies, these pleasures, where do they come from, and in what does their agency consist, if they are the agency that counters the regime of sex-desire? . . . From where does this break emerge? Is it a break that is performed by a subject? Is it a break in the subject as it were, a certain constituting hiatus on which the subject nevertheless draws? And who are the “we” who are said to exercise this agency against the agency of sex? What are the resources that counter the regulation of sexuality if they are not in some sense derived from the discursive resources of normative regulation? (“Revisiting” 14)

     

    So Butler rehearses the terms of the now-familiar structure/agency binary–again, it involves a movement between the subject, what it is that makes the subject possible, and what in the subject can be said to be genuinely agential. As far as Butler is concerned, Foucault leaves these questions unanswered. She must resign herself, then, to this futile vacillation. Hence, Butler charges Foucault with utopianism: by apparently positing a time when “disordered and non-gendered pleasures abound,” he risks making both “sexual difference and homosexuality strangely unspeakable” (“Revisiting” 15, 12). His work, particularly his introduction to Herculine Barbin is said to harbor an “unacknowledged emancipatory ideal” and indulge in the liberatory discourse he purports to displace (Gender 119).

     

    If we are to take Foucault’s ideas in their broader context, however, we notice that they do allow for the prospect of making tangible interventions into the strategies of domination that constitute regimes of sexuality. Discourses must be conceived as “tactical elements or blocks operating in the field of force relations” that make up a particular strategy (History 101-02). As Foucault contends, “there can exist different and even contradictory discourses within the same strategy, [or] they can, on the contrary, circulate without changing their form from one strategy to another, opposing strategy” (102). This instability and mutability of discourse enables Foucault to account for the way discourses of homosexuality can undermine a certain normativity. He writes that “homosexuality began to speak in its own behalf, to demand that its legitimacy or ‘naturality’ be acknowledged, often in the same vocabulary, using the same categories by which it was medically disqualified” (101, emphasis added). “Resistance” does not necessarily entail an obvious discursive rupture or change in vocabulary. It also does not assume a singular form: “there is no single locus of great Refusal,” but “a plurality of resistances, each of them a special case: resistances that are possible, necessary, improbable; others that are spontaneous, savage, solitary, concerted, rampant, or violent” (History 95-96). So mobilizing Foucault does not, as Butler seems to think, demand a disavowal of the analytical category of gender but enables a description of the shifting relations between particular discursive fields, disciplinary technologies, and (gendered) subjects.11

     

    In Butler’s schema, certain types of representational practice are deemed less legitimately “resistive” than others and, consequently, evidence of “agency” must continually be problematized in order to disclose any perceived complicity with “the discursive resources of normative regulation” (“Revisiting” 14). So we are in a situation where any instance of transgression is always potentially not transgressive enough. Butler cannot reconcile her insights with “concrete” struggles, in part, because she overlooks the unstable and differentiated relation of discourses to power. According to Butler’s logic, “It seems crucial to question whether [any particular instance of] resistance . . . is sufficient as a political contestation of compulsory heterosexuality” (Bodies 106). But within the trappings of this symbolic politics, who is to decide when the contestation of a regulatory strategy is sufficient?

     

    If Butler, following Foucault, conceives of domination as a subjectifying as well as objectifying force, she cannot aspire to a total structural displacement of “compulsory heterosexuality.” As Foucault suggests, power relations depend “on a multiplicity of points of resistance: these play the role of adversary, target, support, or handle in power relations” (History 95; emphasis added). Given this inherent instability, it is not possible to define power as a unidirectionally negative and totalitarian entity, against which it is continually necessary to mobilize “resistance.”12 Yet the opposition between structure and agency that Butler presumes requires “domination” ultimately to be, as Colin Gordon describes, that which “falsifies the essence of human subjectivity” (“Other” 30). And “agency” must then somehow be reclaimed, although in Butler’s case without resorting to the category of an originary subject. So despite appealing to a Foucauldian reconfiguration of power and subjectivity, it is still “the subject” that Butler seeks but must never actually find. It is, in her own words, possible only “to promote an alternative imaginary to a hegemonic imaginary” (Bodies 91).

     

    This impasse characterizes Butler’s attempt to theorize agency and attests to the more general difficulty involved in using Foucault selectively within identity politics as it exists in its present orthodoxies. However, to the extent that any incongruity between the approaches is acknowledged, discussion within cultural studies seems to focus on relatively peripheral issues. In his reflections on postcolonial theory, for instance, Robert Young tries to account for the fact that Foucault’s ideas seem “particularly appropriate to the colonial arena, and yet colonialism itself does not figure” as a specific topic of research in Foucault’s analyses (60).13 But such disparities do not provide any substantive reason why Foucault’s insights cannot be usefully extrapolated and applied to these novel areas of inquiry.

     

    There is usually some attempt to assuage these sorts of anxieties by locating evidence in Foucault’s work of his interest, however fleeting, in a range of research topics. This tendency has imbued his more minor essays and articles, and, in particular, his many interviews, with a renewed significance. It is exemplified in Foucault’s role in some lesbian and gay studies. One article quotes David Halperin to suggest that “‘as a madman . . . as a left-wing political extremist . . . [and] as a sexual pervert,’ Foucault had good reason to want to expose the ways by which normalizing discourses both produce and silence ‘social deviants’” (Halperin 130, qtd. in Taylor 6). But narrativizing Foucault’s ideas by using his private life as an interpretive tool does little to patch over the underlying epistemological inconsistencies between his and Halperin’s critical agendas.14 Significantly, this approach supposes that a shared interest in matters of sexuality or race permits the use of Foucault’s work for these very particular forms of critique. It is assumed that Foucault’s concepts can be unproblematically applied because both Foucault and cultural studies are doing the same thing.

     

    Morris is aware of these points of friction (and her caution would extend to those situated along the various other axes of identity politics): “any feminists drawn in to sending Love Letters to Foucault would be in no danger of reciprocation. Foucault’s work is not the work of a ladies’ man” (“Pirate’s” 152). Notwithstanding these difficulties, however, her provocation is, I think, ultimately a positive one. Foucault’s work enables a study of technologies of subjection at the same time as he speaks of the “insurrection of subjugated knowledges” and thereby manages to bypass the problematics of humanism versus anti-humanism (159). Certainly, such a discourse holds considerable promise for a kind of feminism.

     

    For in a perspective in which bodies and souls are seen as not simply constituted but also invested and traversed by relations of power-knowledge (and that unevenly and inequitably–it is not a question of a uniform distribution or a stable “effect”) what becomes possible in relation to “women . . . is something more than a history of a ‘construction’: it is rather the possibility of a history of a strategic specification . . . and at the same time, a history of that in women which defies specification, which escapes its hold; the positively not specific, the unwomanly in history” (159).

     

    But Foucault is interested in “how” these situations arise rather than in arriving at an immediate account of “why.” To use Foucault in the way that Morris suggests requires the inclusion of an empiricism that dissolves the opposition between structure and agency.

     

    Identity, Identification

     

    A politics founded on the notion of “identity”–and as conceived by some formations of cultural studies–turns (unsurprisingly) on a consideration of the activity of “identification.” That is, according to Hall, any description of disciplinary regulation must be complemented “with an account of the practices of subjective self-constitution” (“Introduction” 13). Hall positions himself within a distinctly Althusserian problematic–one that came to prominence in cultural studies through feminist screen criticism in journals such as Screen and M/F in the late 1970s but, in Hall’s case, was also inflected by Butler and Lois McNay’s work. Hall worries that Foucault does not “engage with the unconscious” or theorize “the psychic mechanisms or interior processes by which these automatic ‘interpellations’ might be . . . resisted or negotiated” (“Introduction” 14, 12). That these are regarded as significant absences is indicative of the supposed need for psychoanalysis in any explanation of “identificatory practices” and their link with power. The considerable number of works that attempt to supplement Foucault’s findings with psychoanalysis attests to this perceived need.15

     

    However, as Nikolas Rose comments, “a genealogy of subjectification takes this individualised, interiorised, totalised and psychologised understanding of what it is to be human as delineating the site of a historical problem, not providing the grounds for a historical narrative” (“Identity” 129). Foucault’s attention to processes of subjectification is not aimed at reconstituting “the subject” as a coherent source of volition. Rather, Foucault aims to investigate the “complex field of historicity in the way the individual is summoned to recognize himself as an ethical subject of sexual conduct” (Use 32). This is achieved only by regarding the self as a relational and not a substantive entity. “Identity” can only be understood by examining the practical fields in which our relations with ourselves are circumscribed. As Rose further points out, these relations assume particular forms because they are the target

     

    of more or less rationalised schemes, which have sought to shape our ways of understanding and enacting our existence as human beings in the name of certain objectives--manliness, femininity, honour, modesty, propriety, civility, discipline. . . . The list is as diverse and heterogeneous as it is interminable. ("Identity" 130)

     

    It is only through a consideration of these technologies–rather than a theorization of what Hall labels “interior processes,” or an appeal to the “imaginary”–that one can comprehend how modes of self-relationship are defined and elaborated.

     

    So while Foucault’s work actually opens up a space of historical inquiry into the multiplicity of rationalities that traverse the self, Hall reads this reworking of “agency”–particularly Foucault’s account of “techniques of the self”–as an incomplete attempt to establish a theory of resistance. Hall regards the last two volumes of The History of Sexuality as a rethinking of the notion of power deployed in Foucault’s earlier work:

     

    The more well established critique . . . has to do with the problem which Foucault encounters with theorising resistance within the theory of power he deploys in Discipline and Punish and The History of Sexuality; the entirely self-policing conception of the subject . . . and the absence of any attention to what might in any way interrupt, prevent or disturb the smooth insertion of individuals into the subject positions constructed by these discourses. . . . [T]he subjects which are constructed in this way are “docile bodies.” There is no theorised account of how or why bodies should not always-for-ever turn up, in place, at the right time. (“Introduction” 11-12)

     

    But Hall overlooks the inherent conflict between the various practices that constitute regulatory programs–or as Jeff Malpas and Gary Wickham suggest, that governance always falls short of its target, that it “is necessarily incomplete and as a necessary consequence must always fail” (40). To illustrate this point, it is worth dwelling on Foucault’s own account of his analysis of prisons:

     

    the rational schemas of the prison, the hospital or the asylum are not general principles which can be rediscovered only through the historian’s retrospective interpretation. They are explicit programmes. . . . I tried to show that the rationality envisaged in penal imprisonment wasn’t the outcome of a straightforward calculation of immediate interest . . . but that it arose out of a whole technology of human training, surveillance of behaviour, individualisation of the elements of a social body. . . . [T]hese programmes don’t take effect in the institutions in an integral manner; they are simplified, or some are chosen and not others; and things never work out as planned. . . . [I]n fact there are different strategies that are mutually opposed, composed and superposed so as to produce permanent and solid effects that can perfectly well be understood in terms of their rationality, even though they don’t conform to the initial programming. (“Questions” 10)

     

    Foucault is interested in revealing that aspect of chance, or aléa, that exists in excess of a particular rationality but that is always potentially reducible to the operations of that rationality. And this respecification of power and agency is at odds with the liberalistic conception of domination on which Hall appears to insist.

     

    Governmentality, “Policy,” and the Intellectual

     

    As I noted earlier, Foucault’s notion of “governmentality” has motivated a relatively distinct body of work that can be broadly characterized by its interest in redefining “the cultural” as a series of instrumental or administrative measures that are subject to historical investigation. This includes relatively recent scholarship in and around cultural studies that employs a Foucauldian descriptivism in its exposition of cultural phenomena. Such work examines “everyday” cultural phenomena in their mundanity and historical particularity. Eating practices, self-help and etiquette literature, sport, and so on are granted a local and instrumental character.16 Of the array of studies concerned with the governmental organization and specification of “culture,” I focus here on examples that have had some currency in cultural studies debates (particularly within Australia), and which implicate the role of the cultural studies intellectual.

     

    Tony Bennett’s work is indebted to the “governmentality” school and to a definition of “culture” explicable via Hunter’s analysis of the historical emergence of literary education. In Hunter’s schema, the school is not, as is commonly assumed, the “social realisation of the ideal values of culture and criticism,” but “a governmental apparatus able to achieve a certain ‘humanisation’ of the population according to a (supervisory) ‘rationality’ supported by the apparatus itself” (Culture 3). In order to arrive at a historical logic that is capable of describing this rationality, the domain of the “cultural” is reconceived as a sphere of “piecemeal” administrative measures and programs that are not determined by “the dialectics of ‘totality’” (Culture 20).

     

    Bennett proposes, similarly, that it is not possible for cultural studies to comprehend the relationships between cultural practices and power without describing the specific technologies and kinds of knowledge by which populations are managed. Bennett’s historical work on museums at the turn of the century, for example, is careful to consider the multiplicity of administrative objectives that museums pursue and the diversity of programs that comprise them. So rather than cast the museum as an “ideological” instrument whose work is simply analogous to the ideological work carried out within other cultural sites, such as the school or the factory, Bennett is interested in the nineteenth-century museum as one of a series of discrete operators of social reform. And he is interested in how this “multiplication of culture’s utility” is associated with the development of liberal forms of government (Culture 107). Such a study necessarily involves orienting itself toward an examination of government policy, and it is this emphasis that subsequently became the source of considerable controversy within cultural studies debates.

     

    Bennett’s revisionist program involves a reappraisal of the institutional and discursive conditions which “define the limits and forms of the practicable” within cultural studies (“Towards” 42). As Tom O’Regan explains, Bennett’s work calls “for the double reconstitution of policy: both as an object of study in its own right and as a political site for activity and analysis” (411). By way of authority, Bennett cites Foucault’s suggestion that “to work with government implies neither subjection nor global acceptance. One can simultaneously work and be resistive. I even think that the two go together” (“Useful” 395). Such a practice requires, at the very least, an acknowledgement of cultural studies’ institutional moorings and an acceptance of its own imbrication with administrative programs with specific normative goals.

     

    Bennett’s proposal has exposed him to accusations of reformism from the quarters of cultural studies that see disciplinization as a political compromise and “institutionalisation as a moment of profound danger” (Hall, “Legacies” 285).17 Such a view stems from a narrative of cultural studies’ history that defines cultural studies by its position of marginality–both in relation to the rest of the humanities academy and to the mechanisms of the state. And it is from such a position that cultural studies is said to derive its radical, political edge. However, Bennett provides powerful reasons why this history should be reconceived, through his reading, for instance, of Raymond Williams’s work.18 In Culture: A Reformer’s Science, Bennett suggests that Williams’s claim that “culture is ordinary” includes mundane processes such as the administration of cultural resources, on which considerations of cultural policy have a direct bearing.

     

    But while Bennett’s position is provocative, it has been suggested that his mobilization of Foucault’s work is unduly narrow. This is particularly apparent, O’Regan argues, in Bennett’s assessment of what constitutes “useful” cultural analysis:

     

    Here work is to be regarded as “relevant” insofar as it participates in and extends administrative processes. . . . “[S]ocial relevance” is radically limited, narrowed to policy practice: that which can be made governmentally or corporately actionable, can be publicly endorsed, and can be institutionally sanctioned and found useful by government, tribunal, policy-makers and interest-group lobbyists directly involved in forming policies. (414)

     

    By construing “relevance” in such restricted terms, Bennett advocates a direct participation in regulation “as if that were the only socially forceful position to take” (O’Regan 415). But, as O’Regan points out, Foucault is not interested in making such rigid decrees:

     

    he argued that his work should be regarded not so much as providing answers but as providing resources that certain sorts of activists–like prisoners’ rights groups–might find useful in their own practice. It was up to such groups to make Foucault’s work “useful”; he would not legislate how that use should occur. (415)

     

    Bennett’s reconfiguration of cultural studies in terms of its technical administration can be read with reference to the “empirico-transcendental doublet” described earlier. Bennett seeks to terminate the dialectic simply by “cancelling out” the transcendental side. Whether such a move–that is, to operate with half a binary–is useful, or indeed, possible is difficult to say.19

     

    Moreover, Bennett’s position construes “government” as encompassing only the specific administrative technologies collectively referred to as “policy.” Foucault’s work on “governmentality” is aimed at refuting precisely this assumption–he shows us, in fact, that “there are several forms of government among which the prince’s relation to his state is only one particular mode” (“Governmentality” 91). The second and third volumes of The History of Sexuality document how regulation of Greek morality occurred not merely through explicit codification and legislation, but through a range of techniques of the self that situate one as the subject of moral action. So “policy” does not regulate “culture” single-handedly. As O’Regan suggests, policy is not “the structural engine room which powers everything else” but “a particular kind of information practice with its own limitations, potentialities and linkages to other kinds of public discourse, including cultural criticism and journalism, over which it holds no necessary pre-eminence” (416). “Government,” then, describes a complex system of relays and is, accordingly, a more dispersed set of processes than Bennett’s focus on policy would suggest.

     

    It is this reading of “government” that informs Nikolas Rose’s investigations into the organizational character of the “cultural.” Rose is concerned with tracking relations of force “as they flow through a multitude of human technologies, in all the practices, arenas and spaces where programmes for the administration of others intersect with techniques for the administration of ourselves” (Powers 5). So he is prompted by Foucault to pursue, among other things, an investigation of the complex assemblages that circumscribe our relations with ourselves–for example, in the domains of psychology or liberal government–and the various rationalities that traverse these practices. Such a project exemplifies the possibility of an analytics that is concerned, significantly, with historical precision and amenability to practical action, but which has limited currency within dominant formations of cultural studies.

     

    Rose’s reading of governmentality is bound up with a particular way of conceiving the critical intellectual; indeed, the uncertainty surrounding the function of the intellectual underlies, to a large degree, controversies about the role of “policy work” within cultural studies. The seeming political detachment of Foucault’s core historical works indicates that Foucault eschews the kind of teleological critique that is fundamental to certain formations of cultural studies. As Colin Gordon remarks, Foucault’s objective is not, “to arrive at a priori moral or intellectual judgements on the features of our society produced by . . . forms of power, but to render possible an analysis of the process of production itself” (“Other” 29). A question arises, then, regarding the kinds of social inquiry that can be derived from what Gordon calls Foucault’s “rigorous insistence on this particular kind of neutrality” (“Other” 29).

     

    Gayatri Spivak has described Foucault’s purported “neutrality” as that of “the first-world intellectual masquerading as the absent nonrepresenter who lets the oppressed speak for themselves” (292). What prompts Spivak’s disparagement is that Foucault’s supposed neutrality allegedly masks his own ideological allegiances. This neutrality supposedly allows the “complicity of the investigating subject (male or female professional) to disguise itself in transparency” (294). So Spivak sees Foucault’s unwillingness to judge as “interested individualistic refusals of the institutional privileges of power bestowed on the subject” that neglects “the critic’s institutional responsibility” (280). Similarly, albeit in this case crediting Gramsci’s “organic intellectual,” Hall also alludes to the “responsibility” of the critic. For Hall, this involves transmitting ideas and knowledge “through the intellectual function, to those who do not belong, professionally, in the intellectual class” (“Legacies” 281).20

     

    But Foucault does not imagine the intellectual as part of the vanguard, placed “somewhat ahead and to the side” and expressing the “truth of the collectivity” (“Intellectuals” 207-8). He rejects the programmatic nature of this task:

     

    critique doesn’t have to be the premise of a deduction which concludes: this then is what needs to be done. . . . It doesn’t have to lay down the law for the law. It isn’t a stage in programming. (“Questions” 13)

     

    Foucault’s “specific intellectual” derives from a particular understanding of the relationship of the intellectual to power. The specificity of intellectuals comes from their situation “at the precise points where their own conditions of life or work situate them,” but is also linked to “the specificity of the politics of truth in our societies” (“Truth” 126, 132). So the problem for the intellectual is not to change people’s consciousness, but to facilitate the processes of confrontation that engage with and potentially de-valorize regimes of truth-production. Doing so requires, as Deleuze suggests, a “diagram” or “a display of the relations between forces which constitute power,” and the role of the intellectual is envisaged, above all else, as that of a “cartographer” (36, 44). In other words, it is to be descriptive rather than prescriptive: to provide a map of a particular regime without determining in advance what it will be used for.

     

    At the center of this debate lies a methodological question regarding the supposed conflict between critical and descriptive imperatives. For Foucault, the two always implicate each other:

     

    In truth these two tasks are never completely separable: . . . any critical task, putting in question the instances of control, must at the same time analyse the discursive regularities through which they are formed; and any genealogical description must take into account the limits which operate in real formations. The difference between the critical and the genealogical enterprise is not so much a difference of object or domain, but of point of attack, perspective, and delimitation. (“Order of Discourse” 71-72)

     

    As we have already noted, Hunter, following Foucault, characterizes this binary between “empirical recognition” and “transcendental reflection” as a “permanent and unresolvable feature of the figure of ‘the subject’” of modernity (Culture 272). This subject is a projection of a certain rationale or “analytic of finitude” that is the condition of existence for the human sciences. It demands, according to Foucault, that man “is a being such that knowledge will be attained in him of what renders all knowledge possible” (Order 318). This impulse toward “finitude” intimates the need for a structuring or delimitation of the self, which we have observed so far as various manifestations of the structure/agency binary. As Hunter argues, these “debates . . . are quite literally interminable because they simply reproduce the ambiguous space in which the human sciences come into being” (Culture 206). If Foucault is right, then any claims to theoretical openness or interdisciplinarity “do not indicate the permanence of an ever-open question; they refer back to a precise and extremely well-determined epistemological arrangement in history” (Order 346). And it is within the constraints of this framework that we must situate cultural studies’ critical armature.

     

    This compulsion to transcend empirical conditions in order to explain them is described as a practice of the self, central to the formation of cultural studies intellectuals. As Hunter proposes, “the act of theoretical clarification . . . is in fact inseparable from the normative imposition of a certain aesthetico-ethical obligation (to complete the self)” (Culture 25). It is contended that, despite expanding the nineteenth-century conception of “culture” to include political, economic, and “popular” spheres, cultural studies remains caught within the ambit of idealism. It merely grants a materialist ontology to the same dialectical fashioning of an exemplary subject. Hunter suggests that it is not possible to “politicise aesthetics” simply by subsuming this narrow ethical practice within culture “as a whole way of life” (“Aesthetics” 347-48). He arrives at this position by way of Foucault’s inquiries, in the second and third volumes of The History of Sexuality, into the techniques of self-problematization that enable individuals to recognize themselves as subjects of a particular normative code. Hunter argues that the political activity of the cultural critic is just one such site of self-problematization, whose objective is the complete development of “society as a whole” (Culture 70). This depends on an historical thinking–or what Hunter calls a “philosophico-historical projection”–that relates the incompleteness of the self to the figure of the “alienated society” (70). This state of social fragmentation is supposedly eventually overcome, and the ethical division of the subject reconciled, through the intellectual action of the critic.

     

    However, the indeterminacy of textual critique–as we have noted above in terms of the structure/agency dialectic–guarantees that the goals of reconciliation and “complete development” are unattainable. Hunter points out the upshot of this deferral:

     

    the objectives of the aesthetic ethos are not to be found in its official goals but in the entrance to a state of permanent “readiness” or ethical preparation. At the center of this ethic lies a powerful technology for withdrawing from the world as a sphere of mundane knowledge and action. In fact the aesthete does not pursue knowledge of “worldly” activity as such, having subjected them to a problematization that makes them ethically worthless. Instead, he or she seeks to prepare or cultivate the kind of self that will be worthy of enlightened knowledge and action in an indefinitely deferred future. (“Aesthetics” 354)

     

    So cultural studies’ insistence on these critical vacillations means that there is an “imperative to abstain from direct political activity until the reconciliatory movement of the dialectic brings the time to ripeness” (“Aesthetics” 355). But this reconciliation, and the political conditions supposedly ushered in by this moment, can never actually arrive, preventing such intellectual work from solving substantial problems of social fragmentation.

     

    This is not to say, however, that Foucault didn’t describe what he did as “critique” or consider his work to have a “critical” function. In fact, some of Foucault’s musings on “resistance” seem to implicate him in precisely the kind of aesthetico-ethical impulse that he purports to displace. To see this, we only have to look to his assertion that “critique”

     

    should be an instrument for those who fight, those who resist and refuse what is. Its use should be in processes of conflict and confrontation, essays in refusal. . . . It is a challenge directed to what is. (“Questions” 13)

     

    How does such a challenge claim legitimacy without some authoritarian recourse to notions of truth and falsity? And how can this be reconciled with what I have described as Foucault’s explicit efforts to respecify this philosophically fraught space–to configure non-programmatic “maps” of cultural relations?

     

    Of course it is not possible for “critique” to operate unproblematically outside the bounds of normativity and, indeed, that is not what I am advocating. Rather, a “map” describes the disciplinary practices, political technologies, and points of confrontation and instability that constitute “what is.” If we then decide to “challenge” certain of these practices and procedures, and the relations of contingency through which they function, it is possible to do so by mobilizing, where necessary, particular ideals in order to invent provisional strategies of inquiry and criticism. By reconstituting the question of “critique” and “resistance” in this way–and by acknowledging what Foucault describes as the “very tight-knit, very coherent outlines” that form “the immediate space of our reflection” (Order 384)–the door is opened for a pragmatics that can hope to circumvent the problematics of the “empirico-transcendental doublet.” And it permits a discourse that avoids what cultural studies sets up as the anxious opposition between “theory” and “politics.”

     

    Conclusion

     

    The last five years have seen the publication of at least two books that serve as potential cultural studies instruction manuals while claiming a specifically Foucauldian pedigree. One of them–Danaher, Schirato, and Webb’s introductory text, Understanding Foucault–is an exegetical work that filters Foucault’s work through the critical agendas of, to name some key sources, Butler, McNay, Said, and de Certeau. Foucault’s insights are clarified via a selection of secondary texts and examples from popular culture, present-day political events, and everyday phenomena.

     

    We are shown, for instance, how Foucault’s work on subjectivity is readily applicable to issues of identity: Princess Diana’s various personas of mother, style icon, and “people’s princess” are said to exemplify “how our identities are played out within the complex ensembles and discursive flows that produce a multiplicity of subject positions” (43). Foucault’s point, it is argued, is to “problematise the question of truth, and to show the extent to which it is an effect of the work of discourses and institutions, rather than being absolute or essential” (41-42). In another example, Foucault’s notion of “descending individualism” enables a discussion of the class politics of contemporary news media–that is, “how populist newspapers . . . devote coverage to suspected cases of welfare fraud among the poor, naming the perpetrators of such ‘outrages’ . . . while ignoring the more costly fraudulent activities of very wealthy groups and people” (58). Such technologies of surveillance are also said to come in the form of the “male gaze” and can be located in the relations of power that regulate, for example, sporting fields and beauty regimes (54-55). So the book provides us with an overview of Foucault’s work in which his concepts are deemed to complement a cultural studies vocabulary and adhere to the protocols of its critical project.

     

    Kendall and Wickham’s Understanding Culture reproaches this “dominant” version of cultural studies by refusing what the authors call cultural studies’ “obsession” with meanings, power, and resistance. They contend that such a framework assumes that “power, oppression, class and exploitation” are everywhere, without any rigorous investigation into whether this is actually, empirically, the case (15-16). Cultural studies’ very concern with “the control of meanings and their dissemination,” it is argued, requires that it is “frequently anti-empirical” (14). Any such empirical work “would get in the way of this grand theorising, this relentless induction and deduction” that is necessary for the ubiquity that cultural studies grants the “political” (14).

     

    The book’s authors propose, instead, cultural studies as the study of “ordering.” Their conceptualization of “ordering” is premised on a Foucauldian notion of governance that they use to examine the management and control of cultural objects. This involves describing how cultural objects and practices appear in their mundanity, and the authors detail a procedure for such a description. It is in the effort “not to rush to an explanation of the things,” then, that this descriptivist Foucault is given precedence over the speculative one we encounter in Danaher, Schirato, and Webb (56).

     

    For a more dramatic account of this distinction, it is worth reciting a quotation Kendall and Wickham take from Thomas Osborne. His Foucault

     

    is not perhaps the usual, erstwhile trendy one. The sort of Foucault that appeals to [Osborne] is not, anyway, the Foucault that appears in the cribs; the subversive continental philosopher, the arcane prophet of transgression, the iconoclastic poststructuralist, the meta-theorist of power, the functionalist theorist of social control, or the gloomy prophet of the totally administered society. These sorts of Foucault can all safely be forgotten. The Foucault that motivates much of this book . . . is a much more buttoned up animal . . . a good modernist rather than a faddish postmodernist, a rigorous and not so unconventional historical epistemologist. . . . This, then, is not the naughty, transgressive Foucault, but rather . . . Foucault with his clothes on. (1-2 quoting Osborne x)

     

    This conflict, marked by the radical Foucault depicted in Danaher, Schirato, and Webb’s book and this other, more modest Foucault, is, as we have seen, broadly indicative of the tensions that characterize cultural studies’ relationship with Foucault. And what may be a study of culture along identifiably Foucauldian lines is not necessarily identifiable as “cultural studies.” Indeed, Kendall and Wickham’s book prompts us to ask what is going on when a carefully formulated study of “culture” does not feel like “cultural studies,” and can barely plausibly call itself such. Danaher, Schirato, and Webb’s deployment of Foucault is a revealing one–it enables cultural studies to theorize areas that certain versions of Marxism could not, while traversing the interests of the various axes of identity politics.

     

    Of course, it has been necessary to limit my study to a few key readings of Foucault, and I recognize my comments are restricted to those formations of cultural studies that are informed by these intellectual traditions. In much of the work I have discussed, Foucault’s concepts are deemed to adhere to the requirements of cultural studies’ critical agenda and to a methodology marked, as we have seen, by the dialectics of structure and agency. However, to evaluate these positions in the way that I have is not to argue that certain readings of Foucault are not “accurate” because they do not conform to some authoritative, authorial “intention.” My analysis, instead, offers ways of reconceiving some important theoretical problems within cultural studies. And I am arguing that it may not be sufficient for cultural studies’ analyses to gesture toward Foucault’s ideas without acknowledging that these necessarily entail a much broader reconceptualization of cultural studies’ theoretical armature. If cultural studies is to start engaging more meaningfully with specific institutional spheres and material operators of power, then it must do so by describing and analyzing cultural phenomena as they appear within realms of contingency rather than as products of generalized systematicities. This would allow for the present to be reconceived, as Rose suggests, as “an actuality to be acted upon and within by genealogical investigation, to be made amenable to action by the action of thought” (Powers 11). By taking effect in this way within a historical domain, cultural analysis can offer a means for involving oneself practically in the world.

     

    Notes

     

    1. I will not attempt the uncertain task of defining cultural studies here, although Bennett (“Towards” and “Reluctant”) offers some good reasons–mainly regarding the institutionalization of the discipline–why it is possible to do so.

     

    2. See Frow (“Versions”), Bové, and Miller (173-80) for a review of the reception of Foucault within the “history of ideas” tradition coming out of American graduate schools–an intellectual field that, importantly, as Frow points out, “Foucault’s own work has done so much to undermine” (“Some Versions” 145).

     

    3. Michael Sprinker contends that Foucault is interested in “a familiar historical problem: the emergence of modern society and its characteristic instruments of political and ideological control” (4). Similarly, Colin Mercer suggests that both Foucault and Gramsci illustrate how systems of domination are “simultaneously coercive and productive” (51).

     

    4. There are other theorists who figure significantly here. Bourdieu’s characterization of the relation between everyday practices of consumption and broader configurations of power via his notion of “reproduction” has been extremely influential. Also important are de Certeau’s The Practice of Everyday Life and Lefebvre’s The Critique of Everyday Life–see Drotner for a summary of their reception in media ethnography.

     

    5. For example, Callinicos distinguishes between two currents of poststructuralism and suggests that Foucauldian genealogy is preferable to Derridean “textualism” for its inclusion of extra-discursive elements in its analysis of power (86). See also Said’s “The Problem of Textuality: Two Exemplary Positions” for a similar positioning of the two theorists.

     

    6. A good example of this is in Said’s formative work, Orientalism. Here, “discourse” is used to describe the construction and administration of the non-European world in terms of a kind of semiotics. He contends that orientalism is not merely a text but “a mode of discourse with supporting institutions, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies and colonial styles” (2). But despite this attempt to grant “discourse” some kind of extratextual materiality and historicity, Said is primarily concerned with orientalist texts “as representations, not as ‘natural’ depictions of the Orient” (21). In studying the production of orientalist knowledges and their connection with imperialist power, he conceives of the relationship between the orient and the occident in terms of a “complex hegemony” (5).

     

    7. In “Truth and Power,” Foucault proclaims, “I don’t see who could be more of an anti-structuralist than myself” (114). There are many examples in Foucault’s work–see particularly pages 64-73 of “The Order of Discourse” and the introduction to The Archaeology of Knowledge–that attest to his effort to “find a way around the primacy of representation” (Order 364).

     

    8. E.P. Thompson’s disparagement of Althusser’s synchronicity and supposed depoliticization of history in The Poverty of Theory is probably the most famous example of this conflict.

     

    9. The new historicism offers a good point of comparison here for its attention to historical detail, and is notable for its influence on Foucault’s later work. See The Use of Pleasure (11). However, while During (198), describes it as a “non-mimetic paradigm,” it is still accused by Steedman of harboring an underlying formalism.

     

    10. Bell presents a survey of recent scholarship concerned with “performativity and belonging,” including the implications for discussions of race and ethnicity. Such work involves a consideration of the “ways in which technologies, discursive deployments and power/knowledge networks produce the lines of allegiance and fracture in the various orders of things within which people and objects move” (1). See also Probyn’s Outside Belongings for an example of an attempt to use Foucault to work against rigid notions of identity and determination–it is particularly his concept of “heterotopia” that is said to function

     

    against a certain logic of identity which proceeds through division and designation, ultimately producing polarization. . . . The concept of heterotopia provides an analytic space in which to consider forms of belonging outside of the divisiveness of categorising. (10)

     

    In contrast, Probyn, who is also motivated by Foucault’s work on food, wishes to use it in order to contest the limits of identity politics. She wants to arrive at a “new ethics of existence” that no longer posits sex as a privileged site in the theorization of identity (“Food” 215). Probyn purports to be pointedly Foucauldian in her hope that “through food we may begin to formulate an ethics of living that works against the logics of categorization that now dominate much of the politics of identity” (224).

     

    11. See The Use of Pleasure and The Care of the Self for historical analyses that deploy the category of gender. Both of these texts consider the ways sexual behavior, the relations between men and women, and instances of masculine privilege came to concern moral experience and regulation in Greek antiquity. For example, the problematization and prohibition of certain behaviours are described as being largely “an elaboration of masculine conduct carried out from the viewpoint of men in order to give form to their behaviour” (Use 22-23).

     

    12. McNay’s reading of Foucault in Foucault: A Critical Introduction is exemplary here. She contends that, even when revised as a “positive phenomenon,” Foucault’s notion of power is “a unidirectionally imposed monolithic force,” leaving no scope for “the possibility of social change and the dynamic and relatively autonomous nature of social action” (3). “The idea that all thought is in the service of dominatory regimes,” she argues, “cannot adequately explain how conflicting perspectives may arise in the same regime” (64).

     

    13. Young suggests that “Foucault’s few explicit writings in these areas are sometimes curious: take his comments on the revolution in Iran, where he discusses the Iranian Revolution in terms of what he considers to be its expression of ‘an absolutely collective will’ which he contrasts to the more mediated forms of European revolutions” (57). Spivak also worries about what she regards as an imperialist tendency in Foucault’s work:

     

    sometimes it seems as if the very brilliance of Foucault’s analysis of the centuries of European imperialism produces a miniature version of that heterogeneous phenomenon: management of space–but by doctors; development of administrations–but in asylums; considerations of the periphery–but in terms of the insane, prisoners and children . . . all seem to be screen-allegories that foreclose a reading of the broader narratives of imperialism. (291)

     

    14. Many examples can be cited exemplifying Foucault’s aversion to this obligation to serve as a personal source of authority for his ideas. This one is found in his explication of the “author-function”: “the author is asked to account for the unity of the texts which are placed under his name. He is asked to reveal or at least carry authentification of the hidden meaning that traverses them. He is asked to connect them to his lived experiences, to the real history which saw their birth” (“Order” 58).

     

    15. Homi Bhabha’s Freudian analysis of the colonial stereotype, for example, is appended onto Foucault’s dispositif. In a more extreme example, Christopher Lane argues that using Foucault with psychoanalysis is justified if one considers that Foucault concludes The Order of Things, in which he is apparently “heavily indebted to Jacques Lacan,” by “supporting Freud’s account of the unconscious” (164-65).

     

    16. I am actually abbreviating a diverse body of work here. For some examples see Arditi, Coveney, Rimke, Miller and McHoul, and Wickham for their varying political imperatives and degrees of “criticalism.”

     

    17. See particularly Fredric Jameson’s “On ‘Cultural Studies.’”

     

    18. See pages 35-38 of Bennett’s Culture: A Reformer’s Science.

     

    19. See Gibson and McHoul for a more sustained analysis of this question.

     

    20. Hall goes on to qualify this statement by suggesting that the “organic intellectual” is only a “hope” rather than an actuality in much cultural analysis (292). Frow and Morris, however, make a strong case to suggest that this Gramscian model is still the prevailing one within much cultural studies work, at least in Australia (xxiv-xxvi).

     

    Works Cited

     

    • Arditi, Jorge. “Etiquette Books, Discourse and the Deployment of an Order of Things.” Theory, Culture and Society 16.4 (1999): 25-48.
    • Bell, Vikki. “Performativity and Belonging: an Introduction.” Theory, Culture and Society 16.2 (1999): 1-10.
    • Bennett, Tony. “Cultural Studies: A Reluctant Discipline.” Cultural Studies 12.4 (1998): 528-45.
    • —. Culture: A Reformer’s Science. Sydney: Allen and Unwin, 1998.
    • —. “Towards a Pragmatics for Cultural Studies.” Cultural Methodologies. Ed. Jim McGuigan. London: Sage, 1997. 42-61.
    • —. “Useful Culture.” Cultural Studies 6.3 (1992): 395-408.
    • Bhabha, Homi. “The Other Question.” Screen 24.6 (1983): 18-36.
    • Bouchard, Donald. Language, Counter-memory, Practice: Selected Essays and Interviews by Michel Foucault. Ithaca: Cornell UP, 1977.
    • Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. London: Routledge, 1984.
    • Bové, Paul. “The Foucault Phenomenon: The Problematics of Style.” Deleuze vii-xl.
    • Burchell, Graham, Colin Gordon, and Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: U of Chicago P, 1991.
    • Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge, 1993.
    • —. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
    • —. “Revisiting Bodies and Pleasures.” Theory, Culture and Society 16.2 (1999): 11-20.
    • Callinicos, Alex. “Postmodernism, Post-Structuralism, Post-Marxism?” Theory, Culture and Society 2.3 (1985): 85-101.
    • Coveney, John. “The Government and Ethics of Nutrition.” Diss. Murdoch U, 1996.
    • Danaher, Geoff, Tony Schirato, and Jen Webb. Understanding Foucault. Sydney: Allen and Unwin, 2000.
    • de Certeau, Michel. The Practice of Everyday Life. Berkeley: U of California P, 1984.
    • Deleuze, Gilles. Foucault. Minneapolis: U of Minnesota P, 1988.
    • Drotner, Kirsten. “Ethnographic Enigmas: ‘The Everyday’ in Recent Media Studies.” Cultural Studies 8.2 (1994): 341-55.
    • During, Simon. Foucault and Literature: Towards a Genealogy of Writing. London: Routledge, 1992.
    • Dworkin, Dennis. Cultural Marxism in Postwar Britain: History, the New Left, and the Origins of Cultural Studies. Durham: Duke UP, 1997.
    • Fiske, John. “Cultural Studies and the Culture of Everyday Life.” Grossberg, Nelson, and Treichler 154-73.
    • Foucault, Michel. The Archaeology of Knowledge. London: Tavistock, 1972.
    • —. The Care of the Self: The History of Sexuality Volume Three. New York: Vintage, 1988.
    • —. Discipline and Punish. New York: Vintage, 1977.
    • —. “Governmentality.” Burchell, Gordon, and Miller 87-104.
    • —. Herculine Barbin: Being the Recently Discovered Memoirs of a Nineteenth-Century Hermaphrodite. Brighton: Harvester, 1980.
    • —. The History of Sexuality: An Introduction. London: Penguin, 1981.
    • —. “Intellectuals and Power: A Conversation between Michel Foucault and Gilles Deleuze.” Bouchard 205-17.
    • —. “Nietzsche, Genealogy, History.” Bouchard 139-64.
    • —. “The Order of Discourse.” Untying the Text: A Post-Structuralist Reader. Ed. Robert Young. Boston: Routledge, 1981. 48-78.
    • —. The Order of Things: An Archaeology of the Human Sciences. London: Routledge, 1989.
    • —. “Politics and the Study of Discourse.” Burchell, Gordon, and Miller 53-72.
    • —. “Practising Criticism.” Michel Foucault: Politics, Philosophy, Culture: Interviews and Other Writings 1977-1984. Ed. Lawrence Kritzman. New York: Routledge, 1988. 152-56.
    • —. “Questions of Method: An Interview with Michel Foucault.” I&C 8 (1981): 3-14.
    • —. “Truth and Power.” Power/Knowledge: Selected Interviews and Other Writings 1972-1977. Ed. Colin Gordon. New York: Harvester, 1980. 109-33.
    • —. The Use of Pleasure: The History of Sexuality Volume Two. New York: Vintage, 1990.
    • Frow, John. “Discourse and Power.” Economy and Society 14.2 (1985): 192-214.
    • —. “Some Versions of Foucault.” Meanjin 47.1 (1988): 144-56.
    • —. “Some Versions of Foucault.” Meanjin 47.2 (1988): 353-65.
    • Frow, John and Meaghan Morris. “Introduction.” Australian Cultural Studies: A Reader. Eds. John Frow and Meaghan Morris. Sydney: Allen and Unwin, 1993. vii-xxxii.
    • Gibson, Mark and Alec McHoul. “Interdisciplinarity.” A Companion to Cultural Studies. Ed. Toby Miller. Oxford: Blackwell, 2001. 23-35.
    • Gordon, Colin. “Governmental Rationality: An Introduction.” The Foucault Effect: Studies in Governmentality. Eds. Graham Burchell, Colin Gordon, and Peter Miller. Chicago: U of Chicago P, 1991. 1-52.
    • —. “Other Inquisitions.” I&C 6 (1979): 23-46.
    • Grossberg, Larry, Cary Nelson, and Paula Treichler, eds. Cultural Studies. New York: Routledge, 1992.
    • Hall, Stuart. “Cultural Studies and its Theoretical Legacies.” Grossberg, Nelson, and Treichler 277-94.
    • —. “Cultural Studies: Two Paradigms.” Media, Culture and Society 2 (1980): 57-72.
    • —. “Introduction: Who Needs Identity?” Questions of Cultural Identity. Eds. Stuart Hall and Paul du Gay. London: Sage, 1996. 1-17.
    • Halperin, David. Saint Foucault: Towards a Gay Hagiography. New York: Oxford UP, 1995.
    • Hunter, Ian. “Aesthetics and Cultural Studies.” Grossberg, Nelson, and Treichler. 347-72.
    • —. Culture and Government: The Emergence of Literary Education. London: MacMillan Education, 1988.
    • —. “From Discourse to Dispositif: Foucault and the Study of Literature.” Meridian 10 (1991): 36-53.
    • Jameson, Fredric. “On ‘Cultural Studies.’” Social Text 34 (1993): 17-52.
    • Kendall, Gavin, and Gary Wickham. Understanding Culture: Cultural Studies, Order, Ordering. London: Sage, 2001.
    • Lane, Christopher. “Psychoanalysis and Sexual Identity.” Lesbian and Gay Studies: A Critical Introduction. Eds. Sally Munt and Andy Medhurst. London: Cassell, 1997. 160-75.
    • Lefebvre, Henri. The Critique of Everyday Life. London: Verso, 1991.
    • Malpas, Jeff, and Gary Wickham. “Governance and Failure: On the Limits of Sociology.” Australian and New Zealand Journal of Sociology 31.3 (1995): 37-50.
    • McNay, Lois. Foucault: A Critical Introduction. Cambridge: Polity, 1994.
    • Mercer, Colin. “Complicit Pleasures.” Popular Culture and Social Relations. Eds. Tony Bennett, Colin Mercer, and Janet Woollacott. Milton Keynes: Open UP, 1986. 50-68.
    • Miller, Toby. The Well-Tempered Self: Citizenship, Culture and the Postmodern Subject. Baltimore: Johns Hopkins UP, 1993.
    • Miller, Toby, and Alec McHoul. Popular Culture and Everyday Life. London: Sage, 1998.
    • Morris, Meaghan. “The Pirate’s Fiancée.” Michel Foucault: Power, Truth, Strategy. Eds. Meaghan Morris and Paul Patton. Sydney: Feral, 1979. 148-68.
    • —. “Introduction: History in Cultural Studies.” Too Soon Too Late: History in Popular Culture. Bloomington: Indiana UP, 1998. 1-28.
    • O’Regan, Tom. “(Mis)Taking Policy: Notes on the Cultural Policy Debate.” Cultural Studies 6.3 (1992): 409-23.
    • Osborne, Thomas. Aspects of Enlightenment: Social Theory and the Ethics of Truth. London: U of London P, 1998.
    • Probyn, Elspeth. “Beyond Food/Sex.” Theory, Culture and Society 16.2 (1999): 215-28.
    • —. Outside Belongings. New York: Routledge, 1996.
    • Rimke, Heidi Marie. “Governing Citizens through Self-Help Literature.” Cultural Studies 14.1 (2000): 61-78.
    • Rose, Nikolas. “Identity, Genealogy, History.” Questions of Cultural Identity. Eds. Stuart Hall and Paul du Gay. London: Sage, 1996. 128-50.
    • —. Powers of Freedom: Reframing Political Thought. New York: Cambridge UP, 1999.
    • Said, Edward. Orientalism. London: Penguin, 1978.
    • —. “The Problem of Textuality: Two Exemplary Positions.” Critical Inquiry 4.4 (1978): 673-714.
    • Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. London: MacMillan Education, 1988. 271-313.
    • Sprinker, Michael. “The Use and Abuse of Foucault.” Humanities in Society 3.1 (1980): 1-21.
    • Steedman, Carolyn. “Culture, Cultural Studies, and the Historians.” Grossberg, Nelson, and Treichler 613-22.
    • Taylor, Affrica. “A Queer Geography.” Lesbian and Gay Studies: A Critical Introduction. Eds. Andy Medhurst and Sally Munt. London: Cassell, 1997. 3-19.
    • Thompson, E.P. The Poverty of Theory and Other Essays. London: Merlin, 1978.
    • Wickham, Gary. “Sport, Manners, Persons, Government: Sport, Elias, Mauss, Foucault.” Cultural Studies 6.2 (1992): 219-31.
    • Williams, Raymond. “Base and Superstructure in Marxist Cultural Theory.” New Left Review 82 (1973): 3-16.
    • —. Culture and Society 1780-1950. Hammondsworth: Penguin, 1961.
    • Young, Robert. “Foucault on Race and Colonialism.” New Formations 25 (1995): 57-65.

     

  • Executive Overspill: Affective Bodies, Intensity, and Bush-in-Relation

    Jenny H. Edbauer

    Department of English
    University of Texas at Austin
    edbauer@mail.utexas.edu

     

    If there were no escape, no excess, no remainder, . . . the universe would be without potential, pure entropy, death. Actually existing, structured things live in and through that which escapes them. Their autonomy is the autonomy of affect.

     

    –Brian Massumi

     

    I’ve changed my style somewhat, as you know. I’m less–I pontificate less. . . . And I’m interacting more with people.

     

    –George W. Bush, 13 February 2000

    Introduction: The Chief Eruption

     

    The President appears and suddenly something goes wrong. He stumbles. He squints. His mouth opens, but the words won’t come. And when they do finally come, they are wrong. The sounds are strangely tangled up, misplaced, tortured. His body jerks just a little, but the camera magnifies the small flinches until they appear larger than life. When watching George W. Bush speak, you are watching an event. It is easy to get the feeling that you are witnessing something fall apart. In front of the cameras and lights, his body cannot contain the linguistic flaws, grammatical blunders, wild malapropisms, and visible confusion that are present. The executive body becomes a wild composition of energies and forces. Something erupts. In a 1999 article for The New Yorker, Joe Klein describes Bush’s body like this:

     

    He will squinny his eyes, raise his chin, lift an eyebrow, and curl his lip slightly–his face seems to be involved in a somewhat painful, quasi-involuntary struggle to prevent itself from erupting into a broad, self-satisfied smile. This facial skirmish is often accompanied by a slight forward bend at the waist and a what-me-worry? shrug, and they often occur after the Governor has delivered a line particularly well, or thinks he has. (“Campaign” 40)

     

    Of course, Bush hardly ever delivers a line particularly well. The phenomenon of spotting and cataloging “Bushisms”–those infamous verbal flubs and failings–has become a kind of sport. His caricature almost creates itself: if Bill Clinton’s stereotype was The Good Time Bubba, Bush’s popular image is The Dumb Jock. Yet, as Mark Crispin Miller points out in The Bush Dyslexicon, this image is hardly a source of shame for President Bush. By playing the role of the folksy American during the 2000 campaign, Bush seemed “a viable alternative to the far more seasoned and intelligent Al Gore–whose very strengths could be perceived, or spun, as weaknesses by contrast with the Texan’s ‘naturalness’ and ‘likeability’” (Miller 13). Bush’s mispronunciations and slips of the tongue are thus rendered as a reflection of his populism. As Miller tells it, “certainly George W. Bush has always postured as a good ole boy, who don’t go in fer usin’ them five-dollar words like ‘snippy’ and ‘insurance’” (13). Indeed, Bush has capitalized on this image quite well. Bush understands that “there is no balm like ‘self-effacing humor.’ Thus he started early on to use that weary little joke about his tendency to ‘stress the wrong syl-LAB-able,’ and told Letterman that he ‘would make sure the White House library has lots of books with big print and big pictures’” (Miller 39). And then there were the President’s self-deprecating remarks at Yale University’s 300th commencement: “To the C students, I say, ‘You too can be president of the United States.’” Waves of laughter erupt from the crowd: he’s got quite a sense of humor.

     

    As Miller astutely observes, however, Bush’s miscommunications are more than rhetorical blunderings. He is not (merely) illiterate, but intensely and viscerally incoherent:

     

    His eyes go blank as he consults the TelePrompTer in his head, and he chews uneasily at the corner of his mouth, as if to keep his lips in motion for the coming job, much as a batter swings before the pitch. Thus prepared, he then meticulously sounds out every. . . single . . . word, as if asking for assistance in a foreign language. (6)

     

    Bush’s incoherence presents an interesting problem for cultural theory, as well as for the political left. If we argue, for example, that Bush is an anti-intellectual–or, at the very least, a thoughtless Head–we might rightfully conclude that any of three factors is at work.1 Perhaps the left has not done a good job of pointing out Bush’s inconsistency and anti-intellectualism (or perhaps they have failed to show why these characteristics are harmful). Or perhaps we might conclude that people appreciate Bush’s ineptness–that his blunders are the mark of a “regular guy.” Or, as a third alternative, we might even conclude that the public feels positive about Bush in spite of his public dullness; his other qualities outshine his apparent dimness. All of these conclusions are strong rhetorical accounts of Bush’s surprising popularity in the face of his public stupidity. Yet I would suggest a further way of mapping Bush’s rhetoric that the political left, not to mention cultural theory, has been slow to consider: Bush’s rhetoric, including the jarring disruptions of thought and speech, creates an intensity that can move others. Bush’s ineptness contains something affective that turns out to be more than its symbolic or meaningful form. In other words, before we can talk about gridded position(ings) either for or against Bush, something intensive occurs in the interstices between our various bodies. There is an affective dimension to Bush’s rhetoric that can be located and mapped in terms of the body and bodily forces. In order to more fully understand this executive body and its cultural effects, we must turn to the concept of affect.

     

    Affect and (Other) Unqualified Bodies

     

    Read across the notion of affect, Bush’s decomposition is quite significant. The fact that you cannot read his lips is important; the Presidential disconnection implies much more than a missed connection. As Brian Massumi argues in Parables for the Virtual: Movement, Affect, Sensation, the event of image reception takes place on several levels: there is a level of intensity and a level of qualification. Whereas qualification is the image’s “indexing to conventional meanings in an intersubjective context, its sociolinguistic qualification,” an image’s intensity is “the strength or duration of the image’s effect” (24). For example, Massumi describes an experiment undertaken by researchers after a short, wordless film on German television raised a number of complaints from parents about the film’s tendency to scare children. The film itself, which was originally nothing but filler between programs, was seemingly innocuous: a man builds a snowman, and, after it begins to melt in the sun, drives it to the mountains. There he drops off the snowman and leaves. This scene is hardly the kind of film one would identify as being frightening to children. In their experiments, researchers showed different versions of the film to children: a wordless version, a version that narrated the man’s emotional states at various points, and a factually narrated version. They wired the children to measure various physiological reactions, and asked for responses to the film. (Is this version happy or sad? Is this version pleasant or unpleasant? Which one do you remember the most?) As Massumi writes, the children found the original wordless version most pleasant. Oddly enough, the children also rated this wordless version as the saddest one. The saddest version was the most pleasant. The physiological results are also strange, Massumi points out. “Factuality made their heart beat faster and deepened their breathing, but it also made their skin resistance fall” (Parables 24). In other words, the heart-brain processed information effectively, but it was the skin that had to be excited.

     

    But why would the brain race while the skin is bored? Massumi suggests that these different functions arise from their relation to expectation. Because the heart-brain positions itself within narrative and cognitive continuity, “modulations of heartbeat and breathing mark a reflux of consciousness into the autonomic depths, coterminous with a rise of the autonomic into consciousness” (Parables 25). But intensity–the skin flicks–jumps outside the narrative/cognitive line. Intensity disrupts the linear narrative. The pleasure of intensity is a jump cut, a jolt, a shock that exists on the surface of signification. Judging from such empirical scenes, Massumi concludes that “depth reactions belong more to the form/content (qualification) level. . . . The reason may be that they are associated with expectation, which depends on consciously positioning oneself in a line of narrative continuity” (25). The qualification-meaning level of an image’s reception, in other words, relates to expectation. Yet, the intensity level, which registers on the skin, “is outside expectation and adaptation. . . . It is narratively delocalized, spreading over the generalized body surface like a lateral backwash from the function-meaning interloops that travel the vertical path between head and heart” (25). The level of intensity in image reception is something other than expectation. Indeed, writes Massumi, “intensity would seem to be associated with nonlinear processes: resonation and feedback that momentarily suspend the linear progress of the narrative present from past to future” (26). Intensity is a disruption of the indexing of qualification.

     

    These multiple levels do not merely happen with image reception, however. “Language belongs to entirely different orders depending on which redundancy it enacts,” writes Massumi, “or, it always enacts both more or less completely: two languages, two dimensions of every expression, one superlinear, the other linear. Every event takes place on both levels” (26; emphasis mine). Massumi calls these two halves expectation and suspense. “Approaches to the image in its relation to language are incomplete if they operate only on the semantic or semiotic level, however that level is defined . . . . What they lose, precisely, is the expression event–in favor of structure” (26-27). In short, Massumi concludes, “much could be gained by integrating the dimension of intensity into cultural theory. The stakes are the new” (27). In spite of everything that expectation, the symbolic, and structure allow for, they operate in a realm where nothing new emerges. But the event itself is not prefigured. As Massumi writes, “the expression-event is the system of the inexplicable: emergence, into and against regeneration (the reproduction of a structure). . . . Intensity is the unassimilable” (27). Following Massumi’s lead, therefore, we can redescribe intensity of the event as affect.

     

    This theory of affect–of the event’s doubleness–is important for cultural theory. Massumi notes, “there seems to be a growing feeling within media, literary, and art theory that affect is central to an understanding of our information- and image-based late capitalist culture, in which so-called master narratives are perceived to have foundered” (27). The problem, according to Massumi, is that “there is no cultural-theoretical vocabulary specific to affect. Our entire vocabulary has derived from theories of signification that are still wedded to structure” (27). Thus, we must invent an affective cultural theory as we go along. The stakes are the new and the otherwise unassimilable dimension that shadows our encounters with the event. If our descriptions lack an account of the affective-intense dimensions, they can formulate only a partial cultural theory.

     

    As we see in Massumi’s evocations of the event’s doubleness, therefore, corporality is more than it sometimes seems. A cultural theory of affect is a theory of the body. The affective body is an event; it is implicated in the doubleness of the event. Whereas many readings of the body begin in qualification and ideological realms–in meaning–we must not neglect the body’s total event. That is, we must not neglect both halves of the body: qualification and intensity. It may be true, as Katharine Young writes in her introduction to Bodylore, that “our beliefs about the body, our perceptions of it and the properties we attribute to it, both symbolic and literal, are socially constructed” (xvii). However, we cannot simply reduce the body to the plane of meaning. It is here that the challenge to cultural theory specifically lies: we must come to understand the body as an affective body, as a total event.

     

    I can think of no better exemplar than Bush, who is certainly not describable only in terms of qualification. (Has one ever seen a more unqualified executive body?) Calling on this body, then, I want to extend Massumi’s call for the creation of a cultural vocabulary of affect by tracing three lines, three key terms, of the affective body: relational intensity, the sensation of involvement, and thought-impingement.2 I argue that we must begin to develop a cultural-theoretical vocabulary of and for affective bodies beyond those existing vocabularies of signification. Not only can such vocabularies bring both halves of the event into focus, but this exploration also offers a material re/description of the (political) body as an effect of affect. Moreover, this reading does not apply merely to President Bush’s decomposing body, but to cultural theory as such. In other words, a bodily theory of affect can become a launching pad for a more complete response to current cultural-political scenes. What follows is thus a double gesture of analysis: I want to generate an affective vocabulary via the spectacle of Bush’s decomposing body, as well as a reading of this body across our developing vocabulary of affect. I suggest that such vocabularies can only be generated in a simultaneous co-emergence with(in) sites of cultural analysis. They emerge, that is, through unqualified exemplars.

     

    Relational Intensity

     

    Bush operates most effectively through surprise attack. In his 8 February 2004 appearance on Meet the Press, for example, Bush responded to the growing clamor over weapons of mass destruction (or the lack thereof) with what was slated to be an explanation. “There is no such thing necessarily in a dictatorial regime of iron-clad absolutely solid evidence,” he remarked. “The evidence I had was the best possible evidence that he had a weapon.” And, taking a slightly different tactic, Bush further responded, “in my judgment, when the United States says there will be serious consequences, and if there isn’t serious consequences, it creates adverse consequences.” To put it mildly, these responses jolt their audience. As qualifications, they are meaningless and empty, yet their vacuousness is hardly without intensity–in fact, they come on strong and refuse to evaporate. Bush’s incorrect statements, tautologies, malapropisms, mispronunciations, and bewildering remarks stage a jolt, causing intensity to build up around them. “I don’t care what the polls say,” remarked the President in March of 2000, “I don’t. I’m doing what I think what’s wrong” (qtd. in Miller 134). Miller identifies remarks like this as a surprise for the audience. Miller continues, “For this tendency there may be some physiological explanation; or it may express the muffled protests of a very deeply buried conscience” (134). Bush tells the truth in spite of himself. One’s first inclination may be to explain this jolt as a severe case of intellectual deficit disorder. Yet something more is happening in these veerings and verbal snags. Bush’s pratfalls are not (only) failures, but, perhaps more importantly, they are affectively generative events. It is a mistake, therefore, to underestimate the importance of the event’s doubleness in reading this scene. The jolt of Bushisms exposes the “productivity” of affect as a relational capacity–a function of relations. It might be worth while to spend some probing the idea of relationality for what it can tell us about the event of unqualified bodies.

     

    Consider the Reagan Presidency: smooth and polished, the Great Communicator himself might seem to be Bush’s performative doppelganger. Many commentators have crafted the moment of Reagan’s persuasiveness as a sublime example of charisma-politics. Teflon Ron. Unlike the sticky prose and verbal snags of Bush’s speech, nothing stuck to Reagan. He appeared to be smooth. Massumi points to a story from Oliver Sacks that suggests otherwise. Sacks observed two groups of cognitively dysfunctional patients–global aphasiacs and tonal agnosiacs–watching Reagan deliver a speech. Whereas the first group follows significant meaning through body language, the second group gathers meaning strictly through people’s grammatical and semantic verbal structures. Interestingly enough, notes Massumi, neither group was able to follow the supposedly smoother-than-smooth Reagan. His body language was so jerky and unsmooth that the aphasics could not follow his meaning. At the same time, writes Massumi, “the agnosiacs were outraged that the man couldn’t put together a grammatical sentence or follow a logical line to its conclusion” (Parables 40). The upshot, surprisingly enough, is that Reagan was anything but a smooth talker. This usual rationale for his popularity appears to be somewhat questionable.

     

    The picture of Reagan as the Great Communicator is thus rhetorically troubled for a number of reasons. Even on the surface, Reagan lacked the charismatic qualities to pull off a politics of charisma. As Massumi remarks:

     

    It wasn’t that people didn’t hear the verbal fumbling or recognize the incoherence of his thoughts. They were the butt of constant jokes and news stories. And it wasn’t that what he lacked on the level of verbal coherence was glossed over by the seductive fluency of his body image. Reagan was more famous for his polyps than his poise. (Parables 40)

     

    Paradoxically, Massumi suggests that Reagan’s popularity did not happen in spite of this unintelligibility, but because of it. “The only conclusion is that Reagan was an effective leader . . . because of his double dysfunction. He was able to produce ideological effects by . . . falling apart. His means were affective” (40). Massumi argues that Reagan’s power to attract others was the power of interruption, of suspense: “At each jerk, at each cut into the movement, the potential is there for the movement to veer off in another direction, to become a different movement. . . . In other words, each jerk is a critical point, a singular point, a bifurcation point” (40-41). His movement developed along the lines of the event: Reagan not only embodied qualification, he also embodied the unassimilable intensity of suspense. Massumi explains:

     

    He was an incipience . . . It was on the receiving end that the Reagan incipience was qualified, given content. . . . They [the audience] selected one line of movement, one progression of meaning, to actualize and implant locally. That is why Reagan could be so many things to so many people. (41)

     

    Reagan’s power was precisely his potential: the doubleness of the event was crucial to his ability to move others. At every turn, Reagan’s qualifications were hacked and cut. He communicated via interruption of expectation–he was an affective leader, even if not necessarily an effective one.

     

    This insipience embodied by Reagan is arguably echoed in Bush’s rhetoric. The President’s visceral incoherence that Miller identifies is both more and less than a case of stupidity. He surprises us in a variety of ways–from the disastrous malapropisms to the rather obvious shifts and evasions. In a January 2004 press conference, for example, Bush was questioned about David Kay’s startling admission that weapons of mass destruction would probably not be found in Iraq. “Are you still confident that weapons of mass destruction will be found in Iraq,” the reporter asked, “given what Dr. Kay has said?” The President responded with what might most generously be called a non sequitur:

     

    There is no doubt in my mind that Saddam Hussein was a gathering threat to America and others. That’s what we know. . . . And given the events of September the 11th, we know we could not trust the good intentions of Saddam Hussein, because he didn’t have any. There is no doubt in my mind the world is a better place without Saddam Hussein. America is more secure, the world is safer, and the people of Iraq are free. (Office of the Press Secretary)

     

    The answer hardly follows, yet we should also note that this “surprise” has the effect of a bifurcation point, which veers off into innumerable incipiencies. This veering is not merely a matter of multiple interpretive possibilities (although we can read Bush’s tautologies as such, for example), but it is also the encounter of disruption, of suspense. Bush’s disruptions reflect the jolt of the event and its doubleness. To borrow Massumi’s phrase about Reagan, Bush himself is “a communicative jerk” (Parables 41). Therefore, we might wish to depart from Miller’s reading of Bush’s rhetoric–a qualified reading that seeks to expose the disruption of expectation as a broken line of meaning–and look instead to the event’s doubleness. While Bush’s persuasiveness and rhetorical efficacy may not be locatable in his qualified, indexical meanings, his intensity is another matter. It may not be his linear dimensions that move audiences, but rather the supralinear. Moreover, it may not be a movement of gridded positionality that is effected, but movement as such.

     

    Here we can turn to the work of Spinoza on the subject of decomposing bodies. As Massumi points out, Spinoza’s writings are perhaps the most powerful source of influence for current theories of affect: “on the irreducibly bodily and autonomic nature of affect . . . it is the name of Baruch Spinoza that stands out” (Parables 28). Spinoza is interested in what he calls the affections of the body, where “the body’s power of activity is increased or diminished, assisted or checked” (104). For Spinoza, a body is never a/lone(ly) body. One body is always in relation to another. “The human body can be affected in many ways by which its power of activity is increased or diminished,” writes Spinoza (104). The relation of affect is not a one-way proposition. A body is affected by another body as much as it affects another body. Spinoza explains, “the human body is composed of very many individual bodies of different nature, and so it can be affected by one and the same body in many different ways” (115). Drugs are an obvious example of just such a manifold affectation. While a drug can be quite pleasurable for certain parts of the body, it can also be harmful to others (the liver, brain, etc.). Similarly, Spinoza continues, “different men can be affected in different ways by one and the same object, and one and the same man can be affected by one and the same object in different ways at different times” (134). Spinoza describes this interrelation of bodies and affects in terms of joy and sadness, which are terms central to his ontology. As Deleuze writes in his brief treatise on Spinoza:

     

    When a body “encounters” another body, or an idea another idea, it happens that the two relations sometimes combine to form a more powerful whole, and sometimes one decomposes the other, destroying the cohesion of its parts. . . . We experience joy when a body encounters ours and enters into composition with it, and sadness when, on the contrary, a body or an idea threaten our own coherence. (Spinoza 19)

     

    Moira Gatens and Catherine Lloyd explain Spinoza’s affective poles: “Joy involves an increase in activity–an increase in the striving to persist. . . . there is a corresponding orientation of sadness toward disengagement and isolation” (53). Whereas joy is an increase in active intensities, sadness is the diminishment of that potentiality.

     

    A body is thus a degree of potential for entering certain kinds of relations. As Deleuze points out, Spinoza defines bodies not as a substance but as “a capacity for affecting or being affected” (Spinoza 124). Such capacity certainly relates to the “ideas” that affect us. (For example, I have the capacity for being affected by sad thoughts, thereby changing the intensity of my body at a particular moment of a sad song.) Yet, Deleuze describes this capacity in concrete terms, beyond the ideas that, as we commonly say, affect us. “For example: there are greater differences between a plow horse or draft horse and a racehorse than between an ox and a plow horse,” explains Deleuze. “This is because the racehorse and the plow horse do not have the same affects nor the same capacity for being affected” (Spinoza 124). Spinoza forgoes a substantial definition of a body in favor of its capacities and its potentiality for relations. A (Spinozist) body thus cannot be defined apart from relations with the world. Following this description, we understand the body as those groupings of capacities that are always being affected by (or affecting) another body or bodies. This encounter between bodies is a relation of intensities. Even the body that I substantively identify as my body is a matter of powers: I slip on my headphones to listen to certain music that makes me feel more energetic, more awake. The body of the songs has entered into relation with my body in such a way that increases my intensity. One body enters into a relation with another, changing the potential of both. After listening to sad music, for example, the body’s energy becomes low-key, mellow, and almost pained. Or perhaps I take a tab of acid. In spite of my wishes or desires, my body reveals its own capacities for being affected by psychopharmic bodies.

     

    The body, in its affective relation with other bodies, is thus always in a transition or a passage. “These continual durations or variations of perfection are called ‘affects,’ or feelings (affectus),” writes Deleuze (Spinoza 49). However, such affects do not merely relate to ideas that move us. “It is of another nature,” says Deleuze, “being purely transitive, and not indicative or representative, since it is experienced in a lived duration that involves the difference between two states” (Spinoza 49). Affect marks the lived duration between two states experienced by one body that is affected by another body. The sensation of such a relation is what we might call the encounter of affect. As Deleuze and Guattari explain, “affect is not a personal feeling, nor is it a characteristic; it is the effectuation of a power of the pack that throws the self into upheaval and makes it reel” (Thousand 240). Rather than acting as the emotive means by which to solidify one’s individuality, affect is the sensation of being affected by another body. It is the experience that we are not a/lone(ly), but that we exist in relations beyond what we may recognize or even wish.

     

    Affect is the experience of having the ground pulled out from under our very feet. Few people do this better than Bush, who veers, stutters, misspeaks, hesitates, twitches. We are tempted to take a jab at his failing body, a failing that (we quietly assume with a strange degree of residual Cartesianism) surely reflects a faltering mind. Yet the crashing sounds of the jolt resonate with the encounter of one body affecting/being affected by another body. The camera lights hit Bush–or the questions begin to strike–and we immediately witness a body de/composing as a result of such composition. Likewise, Bush often surprises our narrative expectations with a botched metaphor, fact, or phrase. It is then our turn to experience an interruption–a decomposition–of the (should we say normal?) smoothness of composition. Bush hacks our experience of narrative so easily, and with such a degree of intensity, because we are already in a kind of relationality with this executive body. Bush himself is hacked because he is never a/lone(ly) body, but is rather always open to affectation and compositions. Yet it is a mistake to position Bush’s “hackishness” outside of the event’s relationality. Furthermore, as we will see in the next section, this experience of relationality generates unqualified intensity that is all the more powerful in its productive capacities.

     

    The Sensation of Involvement

     

    We don’t listen to the President. Indeed, it is nearly impossible to listen to the President. Not only does he so rarely speak in public (it is said that he has given the fewest press conferences of any president since the advent of television), but he does not give you much to go on. His speech interrupts itself so frequently that it is almost impossible to find Bush sustaining an articulated thought for very long. As the President himself admits, his reading strategy is a bit disjointed: “I glance at the headlines just to kind of get a flavor for what’s moving. I rarely read the stories, and get briefed by people who are probably (sic) read the news themselves.” Even his description of reading is unreadable. Calling Bush “the unspeakable president,” Salon editor Gary Kamiya wryly remarks that forcing Bush to speak in public is un-American: “what America . . . wanted was a genial, figurehead-type CEO who is incapable of defending or even explaining the decisions made by his corporate masters . . . but who can make ignorance seem charming” (“Unspeakable”). We cannot listen to this President, and yet we experience him. We await his event. We await the jolt of relational intensity.

     

    In describing affects and/as bodies-in-relation, therefore, we are talking largely about sensation, or the sensation of involvement. Yet this is not the personalized sensation that we typically conceptualize as feelings about something. By reading Bush’s body as an affective body, we are not indexing feelings about Bush. By the time such qualification has occurred, we have already bypassed the event’s doubleness and/in the affective body. Instead, we might conceptualize affect as the sensation of the periphery. In What is Philosophy?, for example, Deleuze and Guattari look toward music and painting in order to find the sensation of bordering. “Harmonies are affects,” they write. “Consonance and dissonance, harmonies of tone or color, are affects of music or painting” (164). Harmony is sensed in music or painting, yet it does not belong properly to the listener/viewer. Neither does it reside in any particular place in the material itself. There are combinations of notes and colors, to be sure, yet the harmony exists beyond a mere combination of elements. “It is difficult to say where in fact the material ends and sensation begins. . . . Sensation is not realized in the material without the material passing completely into the sensation, into the percept or affect,” Deleuze and Guattari continue (166-67). The sensation of affect is thus the sensual experience of bordering, of being on the periphery. Or, to put it in other terms, the sensation of involvement is the corporeal experience of being-in-relation.

     

    Although the language may be unfamiliar, this affective encounter of bordering is familiar. One can point to the event of shared eroticism, for example, where sensations belong to no/body in particular. An erotic encounter reflects an involvement of bodies, skin, and those strange relations of the outside. An erotic encounter cannot sustain itself on the mere intimate relation of two (or more) bodies. Eroticism involves an extra, shared element that is outside the range of either body in its “proper” limits. The erotic is neither outside nor inside, but is rather involved in the relation. Eroticism is, perhaps, the primary exemplar of involvement. Echoing the writings of Georges Bataille, Alphonso Lingis remarks that such involvement is an exposure and wounding:

     

    What else is erotic craving but a craving to be violated? In voluptuous turmoil, we are left not simply wounded, but shattered. The violent emotions that are aroused, . . . that push on in a momentum that can no longer derail or control itself, sense also the exultation of risking oneself, of plunging into the danger zone, of expending our forces at a loss. (Dangerous 91)

     

    Lingis suggests that the erotic extends beyond the mere combining of two bodies. Erotic sensation itself is a bordering phenomenon: it is not merely an internalized sensation, but feeds from the intensity of a relation and the body of another. He writes:

     

    Erotic passion is not an initiative of what we call our person–our separate and discontinuous existence, source of its own acts, responsible for what we ourselves say and do. . . . An erotic object functions as the open gate toward which the shock waves of our energies rush, to be . . . intensified and inflamed there, and to break forth into the dazzling darkness beyond. (Dangerous 142-43)

     

    The scene of eroticism is thus a feeling of excess and exposure. It is an encounter with the periphery, or the experience of relationality. Perhaps it is telling that erotic encounters are so commonly described as the feeling of getting lost in another, getting swept away, drowning. The sensation of involvement radically exposes our own being as being-in-relation.

     

    A slightly more banal way of describing this peripheral phenomenon of affective involvement can be found in the body’s reactions to everyday event-scenes. In her reading of the plastic bag pseudo-documentary in the film American Beauty, for example, Gay Hawkins describes her reaction to the short scene as one of intense involvement. It wasn’t a matter of liking the scene, she explains. It’s not quite like that. The scene bowled her over, leaving her breathless. She says, “I was participating in that scene before I knew it, it triggered a different rhythm or process in my watching, one in which I lost my self in a new relation” (“Documentary”). That is, before she could even identify or register some kinds of index–admiration, disgust, semantic meaning, and so on–Hawkins says that she was struck. In her attempt to make sense of this rather unusual visceral reaction, Hawkins turns to the notion of the affective body as relationality. “In other words,” she writes, “affect is a relation, it’s not a self having feelings, it’s a distinctive being in and of the world” (“Documentary”). While we may be tempted to re-index, to reclassify, such an encounter, Hawkins argues that “we are in affect, participating, before this happens, affect precedes these kind of classificatory and cognitive activities” (“Documentary”). Before any qualification of the event, therefore, the affective body registers intensity and breaks expectation.

     

    As both Spinoza and Deleuze suggest, however, this involvement is never of the personal. Affect and bodies-in-relation are always a social matter. In her analysis of conservative Australian ultra-rightist politician Pauline Hanson, for example, Anna Gibbs turns to the notion of affect for an explanation of Hanson’s popularity. It is not (merely) that Hanson persuaded an entire line of voters to support her arch-conservative policies, but rather that Hanson’s affective body entered into particular kinds of joyful relations–in Spinoza’s sense of this term–with other bodies. Gibbs writes that “bodies can catch feelings as easily as catch fire: affect leaps from one body to another” (“Contagious”). Gibbs is especially interested in Hanson’s face and voice (as they are caught on screen) to find what she calls “the affective resonance” of visceral response between bodies (“Contagious”). With her pale skin, green eyes, and red hair, Hanson was a disruption from the ordinary drabness of political faces. She was striking. Her voice was also affectively contagious, wobbly and full of emotional texture. In Gibbs’s astute reading,

     

    Hanson’s voice in the broadcast coverage of the last federal election often conveyed acute distress, as if she was about to burst into tears, and the communicability of this affect in turn set in motion a number of affective sequences in those who listened to it. The distress of the other, if distress itself particularly distresses the observer, often produces an impulse to put an immediate stop to it, as when a baby cries. (“Contagious”)

     

    Trembling and emotional, Hanson appeared less than articulate or self-assured. This performance was not at all harmful to her broad conservative and moderate support, as Gibbs points out. For her inarticulacy “not only communicated the immediate affect of distress, but formed part of a more general attitude . . . of some one who has ‘had enough’, and this attitude, if not the detail of all of her actual ideas, evoked a ready sympathy in many people” (“Contagious”). In other words, it was not political, ideological content that necessarily won support for Hanson, but the sensation of intensification she was able to cultivate for some members of her audience. In addition to these indexical lines, there was a visceral feedback being fed by an interloop of bodies. There was a mutuality between Hanson and the bodies of her supporters.

     

    However, as we have seen, affect is not (always) bound up in identification. Affect as bodies-in-relation–affect in a Spinozist sense–remains outside awareness. Gibbs later concedes that this is precisely what Hanson’s inarticulation “embodies.” Citing Massumi, Gibbs writes, “to the extent that the affects comprising [attitudes] remain outside awareness, they imply desire, or what Brian Massumi has characterised . . . as ‘yearning’ [which is] . . . ‘a tendency without end’” (“Contagious”). Gibbs argues that Hanson’s affective resonance was not ultimately comprised in identification, but in “redintegration.” The difference between the two is a difference between a unifying gesture and a point of decomposition. Gibbs explains, “redintegrative contagion is less organised [than identification], less predictable, less stable. . . . [It is] characterised by disequilibrium rather than equilibrium, punctuated or otherwise” (“Contagious”). Redintegration is a falling apart. Thus, as Massumi says of Reagan (and as we might say of George W. Bush), Hanson was popular not in spite of, but because of, her inarticulacy. While we cognitively prefer linearity and indexicality of the event, the skin is intensified and potentialized by disruption. The body is struck by the event’s suspension of linearity.

     

    The real, material sensation of this immaterial strike cannot be underestimated. The lived duration of affect has power. In deleuzoguattarian terms, the strike of affect–as sensation of the periphery or involvement–marks a real change in our ways of being. The body’s relationality, Deleuze and Guattari write, is “not the passage from one lived state to another but man’s nonhuman becoming” (What 173). Becoming-involved is a process of entering into new relations and zones of proximities. “Becoming is an extreme contiguity within a coupling of two sensations without resemblance. . . . It is a zone of indetermination, of indiscernibility, as if things, beasts, and persons . . . endlessly reach that point that immediately precedes their natural differentiation. This is what is called an affect” (What 173). Here we might recall the experience of listening to music or seeing art that thrives in harmony or dissonance. During the event of hearing a song that jives with your body, you enter into a zone of permeability with other elements that are “properly” outside your own sense. Concerts illustrate this zone of indetermination to an even greater extent. Musicians often describe “feeding” on a crowd’s energy and vice-versa. Commonly perceived delimitations–proper borders of identity and substance–break down in these instances, disclosing the affective sensation of peripheral relations at work. This is not to say that the sensual experience of affect marks a return to a primal scene of origination. As Deleuze and Guattari write, “it is a question only of ourselves, here and now; but what is animal, vegetable, mineral, or human in us is now indistinct” (What 174). We already exist in zones of indetermination; particular events emphasize the sensual reality of such indiscernibility.

     

    The feelings that we once attributed to our selves are thus reattributed to the affective event of involvement and its sensation. The sociality of affect is precisely this relation among bodies. When President Bush opens his mouth to speak, he feeds into this relationality, augmenting the relations within which various bodies find themselves. His speech does not initiate a relation, in other words. As we have seen in the previous section, relationality among bodies precedes his worst blunder or finest moment. Bush’s words are compositional bodies of affect–whether joyful or sad. His words are potentialities. We do not merely listen when the Chief speaks, but we are de/composed and intensified at the peripheral threshold outside of proper corporeal limits. With every jerk, jolt, and flopped joke, we are affected by the doubled intensity of the Presidential event. We are sensually involved in the President’s intensity. Before we can like, love, or loathe Bush–before the space of critique is even opened to us–we encounter his potential for affect(ation).

     

    Thought-Impingement

     

    Bush’s “unspeakability” forces the question that we must inevitably revisit: Is Bush thoughtless? According to a 2003 poll cited in Britain’s Sunday Times, 37% of Brits responded that Bush is “stupid” (Bohan). Likewise, recall how the spokeswoman for Canadian Prime Minister Jean Chrétien felt about Bush: “What a moron” (McIlroy). As Salon‘s Kamiya wittily remarks: “Welcome to the wonderful world of George W. Bush’s brain, where it’s always Casual Friday!” Is Bush thoughtless? Perhaps. But as Gatens and Lloyd point out, it is important to remember that the Spinozist understanding of body is not in opposition to mind. Spinoza does not advocate a turn toward the body in an effort to move away from rationality or logic. Rather, for Spinoza, mind is constituted through the body’s relations and its awareness of those relations through the imagination. Indeed, imagination–a term that is important in Spinoza’s ontology–is the “coming together of mind and body in the most immediate way: mind is the idea of body” (12). Bodies are affected and modified by other bodies, and the mind or consciousness is an awareness of these very modifications. Mind and body are thus involved in various degrees of mutuality, and consciousness is an effect of alertness to bodies in relation. Gatens and Lloyd write, “in being aware of its body, the mind is aware not just of one material thing but of other bodies impinging on that body. . . . This experience of other bodies together with our own is the basis of imagination” (14). Consciousness is awareness of affect: the body in modifying relations with other bodies. “The affects are for Spinoza . . . transitions in bodily power and intensity,” they write. “The awareness of actual bodily modification–the awareness of things as present–is fundamental to the affects; and this is what makes the definition of the affects overlap with that of imagination” (52). The body-in-relation (the affective body) is thus a social body. Affect is a corporeal dimension of sociality.

     

    Spinoza thus suggests that we should be slow to make any pronouncements about the relationship between the mind’s (rational) mastery over the (irrational) body. Although we are often eager to give primacy to consciousness and cognition–thereby also reducing corporality to a secondary importance–Spinoza finds evidence that the noncognitive aspects of the body reflect a kind of thinking. “For nobody as yet knows the structure of the body so accurately as to explain all its functions,” writes Spinoza (106). Spinoza suggests that because the body acts beyond the full control of our cognitive knowledge, “mental decisions . . . [vary] therefore according to the varying disposition of the body” (107). Thinking is a dimension of the affective body insofar as thought registers an awareness of affect.

     

    As we have seen repeatedly, the affective body is a visceral body: the body enfolds sensation prior to all mediation of thought. “Visceral sensibility immediately registers excitations gathered by the five ‘exteroceptive’ senses even before they are fully processed by the brain” (Massumi, Parables 60). In a given situation, the body knows prior to our cognitive awareness. Massumi explains:

     

    As you cross a busy noonday street, your stomach turns somersaults before you consciously hear and identify the sound of screeching brakes that careens toward you. . . . The immediacy of visceral perception is so radical that it can be said without exaggeration to precede the exteroceptive sense perception. . . . [V]iscerality subtracts quality as such from excitation. It registers intensity. (Parables 60-61)

     

    In other words, the affective body acts within relations that are cognitively filtered out from our recognized awareness. Whereas we often only recognize the linear, qualified index of meanings, the body is aware of an event’s doubling. “Viscerality, though no less of the flesh, is a rupture in the stimulus-response paths, a leap in place into a space outside action-reaction circuits,” writes Massumi. “Viscerality is the perception of suspense” (61). Before we can cognitively, consciously register an indexical meaning along a semantic narrative, our body has already encountered the suspension and interruption of the event.

     

    This understanding of situation renders thought as a dimension of the affective body’s relationality. Here we are moving away from a classical epistemology that holds thinking as an effect of observation. Lingis points out that such classical epistemology distinguishes between “the de facto multiplicity of sense-data and their relationships” (Foreign 7). At the same time, he continues, we might follow Merleau-Ponty and take “the sensing to be active from the start. . . . [T]he receptivity for the sensuous element [is thus] a prehension, a prise, a ‘hold’” (7). To sense is already to have the body taken in, so to speak. “To perceive is not for a transcendental agency to extract itself from a drifting mass of sensations; it is to belong to the world one works oneself into,” Lingis continues (Foreign 15).3 The relations of bodies, the sensual experience of being-involved, and thought are therefore all inextricably linked in ways that bypass cognitively recognized dimensions. Instead, the body reflects its own ways of thinking in and through its involvement. Consider those movements that happen too quickly for you to decide, writes Lingis. Consider the slips of the tongue, fast glances, flips of the stomach, jerks of the head, and so on. Or consider a banal gesture, the event of waving to a friend, for example:

     

    The hand that rises to respond to a gesture hailing us in the crowd is not . . . made possible by a representation first formed of the identity of the one recognized. It is the hand that recognizes the friend who is there, not as a named form represented, but as a movement and a cordiality that solicits . . . not a cognitive and representational operation from us, but a greeting, an interaction. (Foreign 8)

     

    The body’s own affectiveness, in other words, is not an effect of cognitive or representational processes. Though we may be reluctant to grant such a status to the body–dumb and inscribed as it may seem–its everyday involvements give the lie to any notion of cognitive primacy. More importantly for cultural theory, the body-in-relation exposes its potentiality for corporeal thought: sensual thinking that exceeds cognitive capture.

     

    Thought itself is thus a force: it hits the body. Steven Shaviro describes this kind of thinking in terms of the cinematic image and the event of “reception.” When watching a film, writes Shaviro, “I have already been touched and altered by these sensations, even before I have had the chance to become conscious of them. The world I see through the movie camera is one that violently impinges upon me, one that I can no longer regard, unaffected, from a safe distance” (46). And beyond the cinematic image, our encounters with other bodies likewise impinge upon us before we have the chance to respond through the grid of the symbolic. In other words, the image grabs us, and not the other way around. “I am solicited and invested by what I see: perception becomes a kind of physical affliction,” writes Shaviro, “an intensification and disarticulation of bodily sensation, rather than a process either of naive (ideological and Imaginary) belief or of detached, attentive consideration” (52). Thought hits the body, haunting it as a force that is with/in us, though out of our grasp.

     

    Such a re/description of situation has an important impact on the way we come to think of particular scenes, especially political-social scenes. As Hawkins writes:

     

    What is valuable about this account of affect is the way it makes trouble for all those epistemologies that begin with a knowing subject ready to act on the world or be acted upon. For the body in affect is not a subjectivity to the world’s objectivity, it is a body in transition, a body in relation. . . . [T]o have a response is to be in a relation. (“Documentary”)

     

    Before we approach a situation cognitively, as subjects, we are already involved in relationality. “Our body thinks with pure feeling before it acts thinkingly,” Massumi argues (Parables 266). We see this primacy in the body’s responses to sudden jolts that are registered somehow before we can make sense of the situation–that is, before we can attach a narrative to the event. Thought itself thus becomes a kind of thinking-feeling that originates in the body. Looking to the work of Deleuze, Massumi explains: “a body does not choose to think, and . . . the supreme operation of thought does not consist in making a choice. . . . Thought strikes like lightening, with sheering ontogenetic force. It is felt” (Shock xxxi). An affective reading of Bush’s (rhetorical) body, therefore, must begin not with any ideological or cognitive effects (although a complete reading necessarily involves these lines), but in a space prior to cognition. It begins in relationality, with the body-in-relation. Something escapes Bush’s language. The excess erupts over his body, rippling across the surface of skin and muscle for us all to see. It is not (merely) that he is lacking coherency, but that he has an excess of qualities. There is too much in his performance to index, to qualify, to hook into coherent meaning. These excess qualities derail from the logical-semantic loops and strike us. They break into a situation and register themselves on the visceral body. Whether or not this involvement becomes a joyful or sad composition, of course, is not determined by such a reading. The visceral registering of excess is not necessarily a positive or negative phenomenon. Affect–and what we might properly call thought–is prior to emotional, ideological, or cognitive indexing.

     

    This means, for one thing, that Bush himself is not thoughtless. The nervous body, the pursed lips, the stuttering, the pauses, the shifting eyes–they all indicate a kind of bodily thinking. A body is struck by other bodies, resulting in its composition or decomposition. It is affected. Beyond what Bush himself may wish, the body leaks and exposes itself in its own intensities. Our visceral reactions also reflect a thinking-feeling that hits us prior to cognitive indexing. Before we can make sense, we sense. Before we react cognitively, we respond affectively. As Avital Ronell explains in her study on stupidity (especially appropriate here), the body’s thinking is not only not coterminous with cognition, but that body’s thinking takes place absolutely otherwise (otherways) than cognition and qualification:

     

    Ever elsewhere when it comes to cognitive scanners, the body evades the regimens of knowledge that would claim to grasp, sectionize, or conceptualize it. Somewhat surprisingly, the site of nonknowledge that the body traverses, and of which it is a part, is related . . . to thought, to acts or contracts of thinking, for the body thinks in a sense, beyond giving or making sense. . . . Thought, which Heidegger unhitched from philosophical operations, weighs in as body. (187)

     

    Ronell explains that the thinking-feeling body indicates a limit to cognitive knowledge. It also indicates the wealth and importance of “sense” that occurs prior to cognition and qualification. We see these two strands well illustrated by the failing, falling, flubbing body of George W. Bush. On the one hand, there is an absolute limit to Bush’s cognitive knowledge. He is, some fear, empty-headed. Yet if his head is empty, his body is stuffed to the breaking point. His is an excessive body-in-relation. The ingress of unqualified intensity hits like a jolt: a body affects and is affected by another body in a compositional overspill. When Bush begins to speak, we the viewers see the suspense–the affect–spill out across the screen. Yet it is not just Bush whose body falls apart. Like Bush, we are bodies in situation. Something slips between subjectivity, language, and scene. Perhaps this something can be called thought, insofar as thought is understood in its affective terms. Excessive intensity hits our body before we have the chance to contain it safely within a story. This excessive punch is what we might call the thought of affect.

     

    Toward a New Cultural Theory

     

    Given these three lines of the affective body–relational intensity, sensation of involvement, and though-impingement–and given primacy of the affective body, how can we give an account of Bush’s persuasiveness, especially in light of his incoherent, poorly performed, and un(der)prepared rhetoric? One could answer this question by looking to relations of power among individuals and the social, examining the ideological construction of relations. This is an important critique, yet an affective reading suggests a space prior to ideological and socially constructed relations of power. As Massumi explains:

     

    It is the event-dimension of potential–not the system of language and the operations of reflection it enables–that is the effective dimension of the interrelating of elements, of their belonging to each other. . . . Belonging is unmediated, and under way. . . . It is the openness of bodies to each other and to what they are not. (Parables 76; emphasis added)

     

    The ability of Bush to move others not in spite of his incoherency but because of it suggests an openness to something beyond semantic or ideological meanings. It suggests that we are open to being affected and affecting other bodies before we know it. Simpler still, we might describe the body of Bush as a gaping hole, a wound: he exposes his and our own exposure as bodies-in-relation. It’s not that nothing comes out when Bush opens his mouth; it’s that too much spills out. Before Bush himself has the opportunity to persuade, and before we can undertake any critical analysis of gridded ideological positionalities, something else comes first. As I have attempted to trace here, this something else is precisely the intensity that is generated outside (or alongside) dimensions of qualification or interpretation.

     

    Two things should stand out to us in an affective reading. First, our cultural-political analyses must begin to include affective dimensions if they are to have any kind of critical effect. That is, we must begin to read the event in its doubling, and not merely in its signifying dimensions. Secondly, we must begin to trace the body itself in its affective and relational characteristics. It is not enough to study the “inscriptions” and symbolic currency of the body. Even at the political scene of the executive body, we must begin to register the suspense of meanings and its effects on the spectator. The primary questions for critical analysis should begin with affect: ask not what the President is (or isn’t, in our case) but what his body is capable of doing. Such readings are a first gesture toward developing vocabularies of affect that can contribute to a revitalization of cultural theory. A viable cultural theory is one that reads both halves of the affective body’s event.

     

    Notes

     

    I would like to thank Diane Davis, Collin Brooke, Jeff Rice, and Thomas Rickert for their feedback on earlier drafts of this article.

     

    1. We should give a nod to those arguments (Miller’s among them) that warn against dismissing Bush as an idiot. As a strategy, this line of argument will not take us very far. And, of course, there are other reasons why we would not wish to adopt the argument that Bush is unqualified because he is somehow not “an intellectual.” At the same time, Bush’s image is clearly that of the dunce. While we can explore the various ramifications and effects of these different media constructions, I want to focus here on his body’s inability to perform smoothly. Whether Bush’s dullness is sincere or calculated, it is clearly his body that seems to come up short in front of the cameras. It is his failing body that I consider in this piece.

     

    2. Note that these keywords are only traces left behind by encounters with the affective body. They cannot form a “map” of affect as such. These keywords are impressions left over from the event’s intensive movement. The terms are traces, and not systematizations, of thought.

     

    3. As Lingis himself writes, this is a Heideggerian notion. We should hear clear echoes of Heidegger’s being-with in this talk of involvement.

     

    Works Cited

     

    • Bohan, Caren. “Bush to keep distance from protests on London trip.” Forbes 16 Nov. 2003. Reuters. 6 Feb. 2004 <http://www.forbes.com/work/newswire/2003/11/16/rtr1149618.html>.
    • Deleuze, Gilles. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights, 1988.
    • Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus. Minneapolis: U of Minnesota P, 1987.
    • —. What is Philosophy? Trans. Hugh Tomlinson and Graham Burchell. New York: Columbia UP, 1994.
    • Gatens, Moira, and Genevieve Lloyd. Collective Imaginings. Spinoza, Past and Present. London: Routledge, 1999.
    • Gibbs, Anna. “Contagious Feelings: Pauline Hanson and the Epidemiology of Affect.” Australian Humanities Review Dec. 2001. 20 Feb. 2004 <http://www.lib.latrobe.edu.au/AHR/archive/Issue-December-2001/gibbs.html>.
    • Hawkins, Gay. “Documentary Affect: Filming Rubbish.” Australian Humanities Review Sept. 2002. 20 Feb. 2004 <http://www.lib.latrobe.edu.au/AHR/archive/Issue-September-2002/hawkins.html>.
    • Kamiya, Gary. “The Unspeakable Bush.” Salon 30 Mar. 2001. 10 Mar. 2004 <http://dir.salon.com/politics/feature/2001/03/30/bush/index.html>.
    • Klein, Joe. “The Campaign Trail.” The New Yorker 75.9. 13 Dec. 1999: 40-41.
    • Lingis, Alphonso. Dangerous Emotions. Berkeley: U of California P, 2000.
    • —. Foreign Bodies. London: Routledge, 1994.
    • Massumi, Brian. Parables For the Virtual: Movement, Affect, Sensation. Durham: Duke UP, 2002.
    • —, ed. A Shock to Thought: Expression after Deleuze and Guattari. New York: Routledge, 2002.
    • McIlroy, Anne. “Uneasy Neighbours.” Guardian Unlimited 2 Dec. 2002. 15 Mar. 2004 <http://www.guardian.co.uk/elsewhere/journalist/story/0,,852207,00.html>.
    • Miller, Mark Crispin. The Bush Dyslexicon: Observations on a National Disorder. New York: Norton, 2001.
    • Office of the Press Secretary. “President Bush Welcomes President Kwasniewski to White House.” 27 Jan. 2004. White House. 10 Mar. 2004 <http://www.whitehouse.gov/news/releases/2004/01/20040127-3.html>.
    • Ronell, Avital. Stupidity. Carbondale: Southern Illinois UP, 2003.
    • Shaviro, Steven. The Cinematic Body. Minneapolis: U of Minnesota P, 1993.
    • Spinoza, Baruch. The Ethics and Selected Letters. Trans. Samuel Shirley. Indianapolis: Hackett, 1982.
    • Young, Katherine, ed. Bodylore. Knoxville: UP of Tennessee, 1994.

     

  • The Sense of Space: On the Specificity of Affect in Deleuze and Guattari

    Claire Colebrook

    Department of English Literature
    University of Edinburgh
    Claire.Colebrook@ed.ac.uk

     

    The relation between mathematics and man may thus be conceived in a new way: the question is not that of quantifying or measuring human properties, but rather, on the one hand, that of problematizing human events, and, on the other, that of developing as various human events the conditions of a problem.

     

    –Gilles Deleuze, The Logic of Sense 55.

     
    As early as 1969, in The Logic of Sense, Deleuze was already taking the possibility of structuralism, as a distribution of singularities, beyond the death of man to the specifically human event. Whereas the mathematical had already been targeted by Heidegger in What is a Thing? as that which determined Being in advance as the measuring of beings, Deleuze suggests another realization of mathematical potential. Not only can the human be situated in a field of singularities; one can also extend a singularity as human. That is, one can think or develop a singular potential or event in life to the point where human thought extends itself beyond any already constituted image of “man.” In this paper I want to argue for the ways in which Deleuze’s project extends, and describes, two dimensions: on the one hand, Deleuze describes a space that unfolds from points effected through differentiation and is thus critical of any simple structuralism that would reduce a field to a single (or differentiated) space (Difference 206). On the other hand, Deleuze argues that once spaces have been actualized (say, in a closed system), this then allows for a thought–or extension of human potential–to spatiality in general. Indeed it is sense, a potential of language or the proposition, which opens a surface or plane that is fully neutral (Logic 31). Thus one may move from this or that constituted sense or term within a structure, to sense as such, a surface that is liberated from any denoted being. For Deleuze, then, the human or the potential of the brain is always more than a constituted image within sense; it is also that image that allows us to think the potential of imaging as such (Negotiations 42). I will argue that we need to add a deterritorialized humanity to Deleuze’s criticisms of man. Just as Foucault’s genealogy of man was accompanied by an affirmation of the self as that which can turn back upon itself, problematize itself, and thereby open new ways of thought, so Deleuze will affirm Foucault’s “superman” who no longer turns back upon himself but opens out to forces that will “free life” from “within himself” (Foucault 132).

     

    The possibility that the “man,” whose being seems so self-evident and whose nature provides the object of modern knowledge and the human sciences, will one day be erased as a figure in thought is precisely what Foucault’s genealogy of the human sciences in The Order of Things sets out to entertain. Will we be able to imagine a power or thought that no longer emanates from a grounding life, that no longer signifies a receding sense whose order we can neither fully read nor definitively flee? For Foucault, such a possibility is tied to a re-imagining of space. Rather than a presumed surface across which the terms of our knowledge are inscribed, we might examine the ways in which various desires to know are produced by (and produce) a prior plane, table or “a priori” within which we think. Indeed, as Deleuze notes in his work on Foucault, to think requires moving beyond formations of knowledge and dispersed visibilities to the “non-place” from which “what we see” and “what we say” emerge (Foucault 38). This “outside” is not spatially separated from the world we inhabit; rather, the “outside” is nothing more than the relations of forces through which we live, see, and say (Foucault 84). There is space, the experience of space, only because of a non-spatial “outside” that is nothing more than a play of forces (Foucault 86).

     

    In quite different ways from Foucault, Derrida also imagines an “end of man” but simultaneously recognizes that such an end or “outside” is internal to the space of Western knowledge: man is that being who, while existing spatially within this world, is also always the point from which spatiality is seen to emerge. For Derrida, the idea of the end of man, or the dream of overcoming or existing elsewhere than within the human, is thoroughly internal to a Western metaphysic that has folded itself in such a way as to incorporate any remainder. Western metaphysics is not an opinion or image of man so much as a striving to grasp the genesis of all imagery, and in this sense presupposes an ideal space in which a subject who is never merely human grasps the essence of a finite humanity. As Derrida notes in his early work on Husserl, the very idea of a truth above and beyond any specific culture or epoch–the idea of moving beyond “man” in his finite, located and concrete sense–posits a potential and “architectonic” humanity, a self-constituting and self-disclosing horizon within which and from which any specific world or space can be lived.1 The end of any “end of man” or the overcoming of any teleology, for Derrida, requires thinking the possibility of a differential movement that is neither spatial nor temporal, neither inside nor outside.

     

    It would seem possible to add one more figure to these critical reflections on man: the Deleuze for whom inhuman durations are the future of thought, and who imagines (with Guattari) a thousand plateaus and multiple regimes of signs, the majority of which are beyond the range of human life. In this paper I want to look at the way Deleuze, with Guattari, criticizes the image of man and its concomitant subordination of space to extension; I will also, on the other hand, argue that Deleuze regards the human, but not man, as bearing a potential to imagine space intensively. Here, Deleuze draws on the non-dialectical intuitionism of Bergson. In Creative Evolution, Bergson argues that life bears two tendencies. In order to act or further itself, life spatializes itself. That is, in order to act on the world, we need to grasp it as remaining the same through time, as extended rather than in a continual state of creation and energetic exertion (or intensity). All life moves forward and acts in order to maximize itself but it must also, in a countermovement and in order to save energy, form habits or regularities that remain the same. For Bergson, a problem emerges when the human mind, so determined to master its opposing world, reduces itself to a spatial and extended thing within the world, rather than a creative and temporally dynamic force. So, the idea of “man” as an object of nature may have enabled all sorts of progressive benefits for science and function, but as long as man is a thing within space he will never fully realize his capacity to become. Only when humanity recognizes itself as creative of space will it overcome the image it has formed of itself as “man.” To put it schematically, we might say that while Foucault resists positing a life or unity from which spaces emerge, and while Derrida insists on a radical disparity that the thought of space and time can only reduce, Deleuze retains some of Bergson’s sense of the positive intuition of the inhuman. We can, and should, move beyond constituted space and systems to the thought of spatiality as such; this will not only yield duration–or the times through which various spaces are realized–but will also intensify space.2 Space will differ within itself according to the lives that occupy it. Whereas Bergson sees humanity as fulfilling itself in its capacity to intuit durations or pulsations of life other than its own (Creative Evolution 271), Deleuze and Guattari grant this role to philosophy. While A Thousand Plateaus insists that each plane of life–from linguistics and genetics to art and science–stratifies and gives form to difference (271), What is Philosophy? also insists that thinking about the potentials of art, science and philosophy will take us from constituted images of man and thought to the virtual plane, the abstract machine, or difference itself.

     

    In this paper I therefore wish to move beyond a possible perceived dualism in the work of Deleuze and Guattari by drawing attention to the specific mode of their dualism, a dualism that is on its way to a monism and that therefore overcomes the rigidity of man, not through dispersal, but through the affirmation of thinking. The way to move beyond “man” to thought is twofold: first, to see “man” not as an error or illusion but as a formation that has enabled the mastery and extension of space; second, to see this production of man positively, as one of the ways in which life stratifies itself. And once this is done one might move beyond the particular image of man to the power of imaging as such. That is, one moves beyond this or that affect, this or that event of force or relations, to the thought of relationality, the plane of immanence.

     

    There is a perception we could have in reading Deleuze and Guattari that the molecular is good, while the molar is bad, that affect is liberating and mobilizing while meaning or conceptuality is rigidifying. Such a moralizing reading would be enabled by placing Deleuze and Guattari in the tradition of post-1968 difference thinkers who resist the lure of identity and who, supposedly, grant an essential radicalism to the non-semantic per se. On such an understanding, conceptuality, ideality, and form are ways of retarding and normalizing the flow and force of life, while the random, singular, or unthought release life into its open and infinite potentiality. The relation between time and space would, accordingly, also be historicized and politicized. Philosophy has privileged a uniform space of points, a space that may be measured or striated precisely because any point in space is equivalent to and interchangeable with any other. These points are achieved either by the division or uniform matter, or by the location of bodies across the plane of matter. Time is then regarded as the measure of movement or points within this uniform field. Western metaphysics has always privileged a fixed world of forms, a spatial unity and a pre-given order over the processes and events that produce that order. When we read Deleuze and Guattari’s seeming celebration of smooth over striated space (A Thousand Plateaus 353), of multiple plateaus rather than a line of history (393), of artisans rather than architects (402), and of nomadology rather than sedentary phenomenology (380), this would seem to suggest that we move from a dualism that privileges a founding term–spatial coordinates, measuring time, order–to an affirmation of the singularities from which all dualisms and orders emerge. Like Derridean deconstruction, we would recognize any moral or binary opposition as effected from a differential field not governed by any dominant term. In terms of space this would seem to suggest that space, far from being a field within which points are mapped, is better conceived as a plane of singular affects and events that is, in Western thought, reactively coded as one general territory.

     

    What I want to stress here, however, is that the emphasis in post-Deleuzean theory on affect, singularities and nomadology misses the affirmative understanding of sense, mind and philosophy that sits alongside Deleuze’s critical project. Throughout his work Deleuze is at pains to point out that he is not advocating a “return” to primitivism, and this has been accepted well enough. However, the celebration of the minor term in Deleuze and Guattari’s non-dualist binaries does seem to suggest a preference for the affective, singular, haptic and embodied over sense, conceptuality and ideality. What I would suggest, though, is that there is another problem in the post-1968 affirmation of difference: the problem or positive possibility of the whole, the power of a singular thought to imagine space in general. Certainly, poststructuralism concerned itself with the disruptive question of genesis: how is any field, system of differences, or plane of knowable terms generated, and how does one term explain, and thereby occlude, the genesis of any structure? But there is also an affirmation of the structural possibility of this genesis: how does any field or set of relations produce a point or image of that which exceeds the set? According to Derrida, such a question–the question of the origin–has never been asked in a truly radical manner. For Foucault, history is just the various forms such a question takes: how do we understand or determine what counts as the field of knowledge and its relations? How is the a priori unfolded historically? For Deleuze and Guattari, it is time to approach the problem of genesis and structure differently (A Thousand Plateaus 242): a structure is a set of external relations, the way in which life is viewed or generated from some point. A structure is one side of a stratification; the other side is that which is structured, but this determinable content is not undifferentiated or formless. And so for Deleuze and Guattari we need to move beyond structures on one side and structured on the other to the abstract machine from which both are unfolded. This would mean taking account of the process of differentiation–the dynamic unfolding of difference–that subtends differentiation, or the actual and realized distinctions between terms (Difference and Repetition 206-07). It should be possible to think immanent tendencies, the way in which different expressions of life unfold different spaces, relations, fields, or trajectories, “the immanent power of corporeality in all matter” (A Thousand Plateaus 411).

     

    Genesis and Structure

     

    Structuralism presented itself as a break with the Western epoch of metaphysics that had grounded beings and identities upon some prior plane from which they emerge; differences were no longer differences within space. Rather than accepting that differences were grounded on a prior order and distributed across a field, structuralism described the emergence of any field from the differentiation of points or terms. The idea of difference without positive terms allows us to imagine a differentiating field that produces points only in relation to each other, denying them any intrinsic orientation. Space would, then, be the effect of a synthesis of points, not a container or ground. Space is the effect of relations. This would apply both to space in a metaphorical sense, such as the space or field of a grammar or social structure, and literal space. Geometry is not a pre-given and ideal order of a space that bears its own laws; rather, our space is constituted through the sense we make of it, the mapping of our field of orientation. Structure therefore privileges external relations or movements over points. There is nothing in any point or being itself (no intrinsic relation) that would determine how it behaves or constitutes itself in relation to other points. However, as long as structure is seen in terms of a differentiating system of pure relations it fails to account for the genesis or internal difference of those relations.

     

    While Deleuze also insists on the externality of relations–that nothing fully determines how any potential will be actualized–he refuses to reduce relations to a single structure. Rather, life is a plane of potentialities or tendencies that may be actualized in certain relations but that could also produce other relations, other worlds. We can make this concrete by way of a very crude example. The power to be perceived as located in geometrical space–to be actualized in a system of relations between points–is certainly one way in which a body or matter might be actualized. So, a line that makes up a grid on a plan or diagram is a line by virtue of this realized set of relations. But such a line might also be drawn on a canvas, overlaid with other lines or set aside blocks of color, no longer being a line but becoming other than itself–a shading or border. This means that there is a potential for sense (within, say, linearity) that cannot be exhausted by any single relation. In contrast with the idea that space or the world is constructed from sense–socially or culturally constituted–spatiality opens sense, for any location bears the potential to open up new planes, new orientations. Rather than seeing space as effected from sense, as realized from a system of orientation or intending, Deleuze sees spatiality as an opening of sense, as the potential to create new problems.

     

    Deleuze is critical of the subject of philosophy for whom space is a form imposed on the world, but he is also resistant to reducing space to actually constituted spatial planes. What needs to be thought is not this or that plane, nor this or that realized system of relations, but the potential to produce planes, the “planomenon” and our capacity to think or encounter that potential.

     

    To a certain extent this problem is also captured in Derrida’s problem of thinking that which occurs “before” oppositions between genesis and structure, between active and passive, between time and space, or between the point and the line. Terry Eagleton recently “corrected” what he took to be a widespread misreading of Derrida’s “there is nothing outside the text.” What this really means, Eagleton explained, is not that everything is language or discourse but that nothing can be conceived without relation to something else. But it is just this “without relation” that is the most crucial dimension of Derrida’s thought. A space or a sequence of time relates one point to another, carries over or traces in the absolutely singular an anticipation of that which will remain the same. What needs to be thought are not sets of relations but the tearing of the singular from itself, the way in which any point to be established as a point must already be transgressed, traced, marked or divided from itself by the anticipation of some continuing identity. “Before” there can be a hierarchical relation or difference between terms there must be the establishment of some point of stability, some marking or tracing of that from which relations might then be thought. Relations in their external or structural form–relations among terms, such as a spatial field–depend upon a non-relation. The point, the singular, the unique or the purely present which we imagine as the original substance before differences and relations, must already have departed from itself without relation, retrieval, or re-presentation (Derrida, EH 151). To establish a present, as present, as bearing an identity or mark that can then be thought or related to some other point or present, the present must already “announce” the infinite, go beyond itself, not be itself.

     

    Derrida is at once critical of Western thought’s tendency to regard the singular as inevitably fulfilled or made fully present only in the thought of some representable whole. There is an “architectonic” impulse in metaphysics, regarding as properly present only that which can be re-thought, brought to consciousness and rendered universal and transparent to thought in general (EH 99). What cannot be thought is the non-relational, those tremors, potentials or movements that fail to be actualized. Accordingly, when Derrida affirms textuality, he is not arguing for the construction of a language or system that would “mediate” reality; nor is he arguing for the fact that everything is already bound up in some set of relations. On the contrary, Derrida attends to the singularity of space, the ways in which texts produce specific relations or points from which some plane or field is then effected, such that the ground is effected by the traversal or spacing of the gramme. Inscription is not the inscription of a surface, nor the synthesis of self-sufficient points; it is the production of surface and point from each other, from “différance which is neither punctual (unique, self-present and self-identical) nor continuous (a synthesised and unified whole awaiting division)” [Dissemination 206].

     

    Like Deleuze and Foucault, then, Derrida is critical of a subjectivism that would ground structures or spaces in some outside producing term. Where Derrida differs markedly from Deleuze and Guattari’s “geology” is in his insistence on necessity. Metaphysics, or the inability to think difference itself is necessary; insofar as we think and speak we have always already located ourselves within a structure. One can only think the outside critically. In this regard Derrida shares with Foucault an ability to think of language freeing itself from its closed system alongside a refusal to consider life‘s power to deterritorialize itself (Deleuze, Foucault 131). In structuralism the removal of any ground liberates difference but fails to think or confront the emergence of difference and the distinct ways in which different epochs (Foucault, Order 326) or different texts (as in Derrida’s Dissemination) produce a plane or space upon which difference and structure are thought. In the case of both structuralism and its preceding epochs, what fails to be considered is epochality as such: how a field, plane, surface, or ground of thought is generated. Whereas pre-structuralist thought takes difference to be the mapping and relating of distinct terms–terms that dictate a certain order of relations–structuralism posits an external system from which relations are determined.

     

    This is Foucault’s great argument in The Order of Things. Whereas order had always been seen as dependent on some prior ground, either the divine sense of the cosmos or the specific logic of natural organisms, languages or political economies, modern thought discovers one distinct ground–life–from which all structures and relations flow (Order 317). All genesis and becoming have been referred back to a space, plane, ground, or unity. An equivocity is thereby established such that the differences among beings may be accounted for on the basis of some other being (327). Life unfolds itself by producing various structures, all of which point back to an origin that bears an entirely other sense (278). Languages have a logic not present to speakers, labor is effected by laws and relations outside its intentions, and various organisms are determined by forces, such as evolution, which are radically distinct from the desires of this or that body. “Life” is just that generating ground from which all specific structures emerge. There is now a single metaphorical plane explaining all modes of difference, and this is mapped by a literal space of normalization. For Foucault, the modern study of life precludes the thought of distinct and incommensurable territories. There is one space, the space of life, unfolding itself though the same global logic (318). Working against this assumption of a life from which various structures emerge, and critical of the projects of structuralism and phenomenology, which wish to explain space as effected from the orientation of life and consciousness, Foucault turned to spatial events. If one could think space as an event, as unfolded from specific relations (relations that also produce the terms that relate), then one would look to how distributions of space (in the literal sense) produce a plane or table (in the non-literal sense). Prisons and hospitals allowed for the study of humanity–producing a point of knowledge and a soul to be studied–and thereby constitute a space of man (man as the animal that allows space to be measured, synthesized, mapped or constituted). All bodies as manifestations of this one life are subject to the same laws. One can thereby see all specific political territories and norms as reducible to transcendental and translatable criteria.

     

    Derrida has also, but with quite different approaches and exits, challenged the unity of the transcendental field by insisting that every text, both literally and figuratively, not only generates a set of relations but also requires or generates a point (a supplementary, excessive or exorbitant term) from which such relations are understood to flow. For Derrida, deconstruction is not itself a method so much as an inhabitation and solicitation of all those texts that present their structures, differences, borders or relations, while repressing that which generates structure. There will always be, within any field or space, a closed set of terms and an unthinkable supplementary term that borders or closes the set. If we imagine how this might provoke the practice of spatial arts, such as architecture, then we can follow Mark Wigley by suggesting that any experienced or actual space must repress, forget or disavow that spatializing tracing which marks out the border between inside and outside, which generates the field but cannot be located within the field (191). More concretely one could strive, as Bernard Tschumi has done, to bring this thought of quasi-transcendental difference into practice. Le Parc de la Villette aims to decenter space by producing a distribution of points without hierarchy. According to Tschumi, the various points that create the grid system of the park preclude the thought of a center or realized intention. Without hierarchy or center the various points will then enter into a series of multiple relations, such that the character of the space produced is not determined or organized beforehand. Further, by overlaying other distributions such as a series of surfaces and then a series of lines, no system of distributions is elevated above any other; unity is avoided. The points therefore work against a dominating ratio that would present space as an expression of design–certainly not the expression of a subject. If the points were in some ways pure form or pure difference, this would be a set of relations without positive terms, without overarching form, allowing other systems of relations–including actions and the participation of other designers–to produce new relations. Most significantly, Tschumi insists that the “project aims to unsettle both memory and context,” and is therefore exemplary of a resistance to the idealization of space, the use or experience of space in terms of an ideal sense that would precede its punctual event:

     

    Not a plenitude, but instead "empty" form; les cases sont vide La Villette, then aims at an architecture that means nothing, an architecture of the signifier rather than the signified--one that is pure trace or the play of language ... a dispersed and differentiated reality that marks an end to the utopia of unity (Tschumi viii).

     

    In contrast to this pure distribution and relation of points–“differentiated reality”– Deleuze puts forward the idea of external relations that cannot be confused with the singular powers from which those relations are effected. Relations are not the effect of a process of differentiation or distribution. Rather, the power to differ expresses itself differently in each of its produced relations, with each effected point or term bearing a power to exceed itself, and to establish a new relation that would then create a new space. Put more concretely, we might imagine a certain power to differ–light–producing a spectrum of colors, such that these differences are effects of this intensity of difference; but we then might imagine colors entering into relation with the eye, thereby producing a visibility that can create new terms and new relations. Any space or plane, then, is the unfolding of matter, with relations being effected by specific expressions, which are events of specific powers to relate:

     

    There is an extraordinarily fine topology that relies not on points or objects but rather on haecceities, on sets of relations (winds, undulations of snow or sand, the song of the sand or the creaking of the ice, the tactile qualities of both). It is a tactile space, or rather "haptic," a sonorous much more than a visual space. The variability, the polyvocality of directions, is an essential feature of smooth spaces of the rhizome type, and it alters their cartography. (A Thousand Plateaus 382)

     

    This is what Deleuze draws from Spinoza: if life is desire or striving, and has no static being outside this striving, then encounters or relations need to be referred back to desires or intrinsic powers to differ.3 There are not points or positive terms that are differentiated or distributed in a uniform space; nor is there spatiality or punctualization as such which can only be thought after the event. Rather, each relation is expressive of a power that bears a potential to enter into further relations. A field is not a distribution of points so much as the striving of powers to become, and each power becomes as this or that quality. Qualities depend upon, but do not exhaust, the potentials actualized in each encounter.

     

    Even so, while this yields an affirmation of the affective or material over the formal, the production of space rather than its orienting sense, there is also an affirmation in Deleuze’s work of the thought, philosophy, and sense of affect. Indeed, Deleuze’s historical work with Guattari offers a genealogy of globalism: how certain affects such as the white face, viewing, subjective eyes, and laboring and subjected body constitute the “man” of modernity and single territory of capitalism. There is nothing radical per se about affect, but the thought of affect–the power of philosophy or true thinking to pass beyond affects and images to the thought of differential imaging, the thought of life in its power to differ–is desire, and is always and necessarily radical.4 The power of art not just to present this or that affect, but to bring us to an experience of any affect whatever or “affectuality”–or that there is affect–is ethical: not a judgment upon life so much as an affirmation of life.

     

    Space in General

     

    In this section I want to look back at Derrida’s and Foucault’s original encounters with the peculiarly modern understanding of space to which they both respond in order to make two points, the first critical, the second constructive. Both Derrida and Foucault are concerned with the emergence of a transcendental understanding of space as an historical event, but mobilizations of their work have tended to reinforce the very transcendentalism they problematize. Furthermore, while Deleuze’s work has often been read as amenable to the already undertaken mobilization of Derrida’s and Foucault’s criticisms of transcendental space, Deleuze’s expressionism actually demands and affirms an understanding of space that is entirely at odds with the dissolution of qualitative space that is seen to be postmodern. Deleuze’s concepts of the molecular, affect, haecceity, and multiplicity, far from striving to think a spatiality that lies outside the field it determines, allow the thought of a self-distributing plane, a space that unfolds itself, and that does not require and expel a supplementary absent and spatializing force. Deleuze’s difference is not radically anterior and unthinkable; it is the immanent pulsation of life that expresses itself infinitely and that can be affirmed in the thought of life.

     

    The idea of space as the effect of a radically absent force of spatialization that lies outside the field it spaces–even while this outside can only be thought as outside once terms are spatialized–is itself a peculiar event, affect and multiplicity. Why is it that today we see ourselves as subjected to the signifier, as inhabiting a law or system of relations imposed by an Other who does not exist? There is, if you like, a space of white Oedipal man, a space that has expressed itself in a pure geometry, a geometry oriented by the sense of a space that would be the law for any body whatever, a space that is nothing more than a capacity for axiomatic repetition. In response to this space of man and pure geometry, Deleuze suggests that far from returning to a primitive geometry, and far from adding one more dimension to the plane that might allow us to think space in general, we ought to multiply the dimensions of space in order to maximize its power. From that critical endeavor we can then go on to ask, as Deleuze and Guattari will do, what a plane is such that it can think its own folds and dimensions. Philosophy creates the plane of thought which, in its Deleuzean form, strives to think the emergence of all planes, and this is why A Thousand Plateaus can describe life through planes of science, geometry, geology, literature, politics, metallurgy, history, and linguistics: all the ways in which life folds upon itself in order to imagine and give form to itself, all the different matters of form, all the ways in which matter manners or articulates itself.5

     

    The Space of Man

     

    Edmund Husserl’s “Origin of Geometry” was both a response to the reduction of truth and space to the human sciences and the occasion for two of the most profound meditations on space of the last century: Derrida’s Edmund Husserl’s Origin of Geometry: An Introduction and Foucault’s The Order of Things. Both of these works were, ostensibly, critiques of the very project of a science of man. Both Derrida and Foucault pointed out that any explanation of spatiality and temporality from the finite point of view of the human animal would also be a repression of that dispersion or spatiality that allows man to be. Man can see himself only as the point of view from which space and time emerge if this space and time are, to use Foucault’s terms, a Same which divides itself in order to produce man in its fold (Order 330). In the modern complex of man as an empirical-transcendental being, man’s various fields of activity and knowledge are regarded as epiphenomena of a single life, a ground from which difference unfolds (Order 279). For Foucault, Husserl’s phenomenology, despite its critique of the human sciences, is an expression of this modern logic of man: transcendental consciousness is just that which both differentiates itself in various structures but can also turn back and comprehend itself by recognizing this space of life. For Derrida, Husserl’s phenomenology expresses the tendency of metaphysics per se, a metaphysics that has always privileged the telos of a single and architectonic logic of space (EH 99). Geometry in its pure form, particularly when it recognizes itself as the capacity to produce space as an ideal form, discloses a consciousness that can imagine itself as constituting a general horizon of humanity, a logic that is infinitely repeatable and forever capable of retrieving the sense of its origin.

     

    For Derrida, Husserl’s rigorous thought of the origin of geometry was typical of, and a fulfillment of, Western philosophy as such. On the one hand, one cannot reduce formal truths, such as the truths of geometry, to this or that particular culture, epoch, or individual psyche. What Euclid perceives is not just this space here with its finite properties but a future potentiality of all space for any subject whatever. Formal truth perceives in the here and now what may be repeated, or what marks this present with a possibility that pertains to any point in time or space whatever. Geometry is therefore the movement of sense and history, perceiving in this space what may be actualized and repeated in the future (EH 135). This formalization therefore seems to presuppose or require the idea of humanity in general, a space of man that may always be represented. The truths of geometry are not handed down as meaningless or arbitrary systems; they have sense only if their purposive orientation or lived meaning can be lived again, renewed and repeated with further sense. On the other hand, while insisting that formal truth cannot just be reduced to a human event within history, and that truths of space transcend this or that particular psyche, Husserl also acknowledges that without some inscription or synthesis by some consciousness, such truths would never have been constituted or brought to presence (EH 78). Without the synthesizing process of consciousness that can mark in this here and now a possibility that may be reactivated through time, and that may be sustained by an imagined humanity to come, space and truth would remain as unactivated potential, never brought to life, never capable of truly being (EH 153).6

     

    Derrida makes two critical points with regard to this Husserlian project. The first has to do with Husserl’s claim for consciousness in general. When the geometer perceives the truths of space he experiences the world no longer as this finite and concrete here and now. Although he must inhabit some actual present, he experiences this present as if it were already carried into the future, beyond his own life. This point, this here and now, is anticipated as operating under the same logic for all those others who will follow. The constitution of formal truth and space relies on an Idea of humanity, a community of sense, who will both retain the repetition of geometry in its formal language and be capable of reanimating those original formalizations (EH 80). One does not just repeat the truths of geometry as so much received text; it must always be possible to perceive the truth of their genesis, and to re-live from this present, the sense of the living present of Euclid or their original founder. On the one hand the origin in ancient Greece must be accidental and inessential, for Euclid transcribes a truth that pertains to any space and time whatever. On the other hand, one also has to acknowledge the absolute singularity of that founding space: that the ancient Greek moment was that point in time and space which gave birth to the idea of time and space in general, and therefore the history of the West.

     

    Derrida’s second point moves from the problem of the constitution of truth in general from some particular moment to the essential imbrication of space and humanity with this moment of genesis. It is true that philosophy and Husserl’s argument depend avowedly on time, and a time that can always reanimate the true sense of the past (EH 90). That which cannot be repeated, recognized and represented, that which does not pertain to space or time in general, has less being and presence than the truth whose sense prescribes the dignity and power of consciousness. Truth is only truth with this ideal temporal dimension; to make a claim to formal truth is to produce what could be repeated by any consciousness whatever.

     

    Derrida also draws attention, as Foucault will do, to the profound spatiality of Husserl’s argument. Before Husserl can explicitly establish this ideal temporality of tradition, this community of scientists or geometers who will be and must be capable of reactivating the original experience, he must presuppose a common space of humanity, a single plane of man that is capable of living its concrete and particular present from the point of view of any space whatever:

     

    Geometry, in effect, is the science of what is absolutely objective--i.e., spatiality--in the objects that the Earth, our common place, can indefinitely furnish as our common ground with other men. . . . The transcendental Earth is not an object and can never become one. And the possibility of a geometry strictly complements the impossibility of what could be called a "geo-logy," the objective science of the Earth itself (EH 83).

     

    All consciousness must in potential be transcendental consciousness, a consciousness with the power and will to perceive its world not as this or that particular here but as one ideal community of sense.

     

    The very project of transcendental reactivation and comprehension, the project of returning to the opening of the Idea of the unity of the world in general, rests upon an idea of the western epoch. For it is only in the self-representation of Western science that there is an idea of truth freed from any particular region. Husserl takes all experience of specific beings “back” to the very sense of a “world” or unified horizon, which is there for me, for others, has been there for the past and will be there for the future. Infinity is “announced” in the experience, any experience, of space; but only the reflection on pure geometry and its history brings this passage to infinity to presence. The history of geometry discloses the condition for experience as such; in order to affirm that what I perceive now is true and present I already rely upon the idea of what could be repeated and affirmed by consciousness in general. Husserl’s phenomenology merely brings this implicit metaphysics and unified spirit of humanity to recognition. Even the non-comprehension or untranslatability of other cultures requires the recognition of them as cultures and therefore as within the same “life-world.” Husserl’s inclusion of time, being, and sense within the general horizon of concrete conscious life is, according to Derrida, the ethic of a necessarily transcendental tradition of philosophy. It is only with the notion of life in general, freed from any determined image of man, that there can be a) the ideality of mathematics and geometry and b) the transcendental phenomenology that accounts for how such ideal objects are constituted. For Derrida, though, this transcendental horizon of absolute consciousness as the history of all sense, or the transcendental history, which thinks of a truth in general, must always bear the traces of a determined, empirical, factual, or singular space. For Derrida, it is the assumption of an architectonic space, a space that can be formalized, a space whose sense is already oriented toward man as a logical and self-recognizing being that decides, in advance, the being of space.

     

    Against the idea that Husserl completes the project of the West and that all philosophy takes the form of this ideal comprehension of space within humanity in general, Foucault historicizes and politicizes Husserl’s project (Order 325). For Foucault the profound spatiality of the Husserlian gesture can be delimited, for its experience of man is not only modern but also marks a radical break with a history of thought that could think of differences experienced by (but not reducible to) the human knower, that could think of the surface of knowledge that time traversed, without seeing difference and space as the unfolding of the Same (279). Further, Foucault sees the modern point at which space is explained transcendentally as tied to a peculiar mode of the political. What I want to bring out here are three provocative implications of Foucault’s history of transcendental space.

     

    First is an idea we can borrow from Deleuze and which will allow us to move from Foucault to Deleuze; this is the opposition between univocity and equivocity.

     

    Second is the idea of a specifically political reorientation with the folding of space into time.

     

    Third is the relation between the affective genesis of space, or what Deleuze follows Husserl in calling “vague essences” (A Thousand Plateaus 367), and space’s formal neutralization and temporalization.

     

    Univocity and Equivocity

     

    Both Foucault’s The Order of Things and Deleuze and Guattari’s Anti-Oedipus historicize the emergence of man, pointing out that man is not just one being in the world among others, even if the human knower has always been somehow privileged. Man is defined through what Deleuze will refer to as an equivocal ontology, or what Foucault will describe as an “ontology without metaphysics” (Order 340). That is, there is no longer a world of inherent or intrinsic differences which human knowledge may either come to know and map (as in the classical era) or which can be recognized and reflected in the self’s relation to a cosmos. For Foucault, prior to modernity, space is the surface upon which knowledge and difference are placed, and time allows those dispersed spaces–not to be constituted and synthesized–but to be recognized. In modernity, however, this world of dispersed differences is now torn apart by a point of opacity and radical difference. Being does not bear its own truth or metaphysics; there is a point outside being–life–that is other than the world but which gives the world its truth, order, or differentiation (Order 265). Difference and unfolding are located within man. To go back to Husserl’s argument for transcendental consciousness: we can no longer naively use the truths of geometry as though they simply represented the truth of space. We have to recognize the temporal constitution of these truths by consciousness. Consciousness is just a capacity for spatialization through time that can be recognized as having no proper space, and that must at once be located in a specific culture and epoch, but also differentiated in its potential from any concrete locale. Here, the difference, space, and surface of the world are unfolded from one point within the world–life–a point that can never have its space within the horizon it unfolds:

     

    It is always against a background of the already begun that man is able to reflect on what may serve for him as origin. For man, then, origin is by no means the beginning--a sort of dawn of history from which his ulterior acquisitions would have accumulated. Origin, for man, is much more the way in which man in general, any man, articulates himself upon the already-begun of labour, life and language; it must be sought for in that fold where man in all simplicity applies his labour to a world that has been worked for thousands of years, lives in the freshness of his unique, recent and precarious existence a life that has its roots in the first organic formations, and composes into sentences which have never before been spoken (even though generation after generation has repeated them) words that are older than all memory. ... Far from leading back, or even merely pointing, towards a peak--whether real or virtual--of identity, far from indicating the moment of the Same at which the dispersion of the Other has not yet come into play, the original in man is that which articulates him from the outset upon something other than himself (Order 330-31).

     

    It is in equivocal ontologies, according to Deleuze, that man as a signifying animal is the point from which system, difference, and structure are given. Man everywhere is subjected to the same formal structure of differences, law, exchange, and signification–with the world and real being nothing more than the plane upon which system takes hold. In modernity, one moves from expression to signification: from a world where differences are real and distinct and give birth to signs, to a world where each event has its ground and origin in one organizing system. From real and distinct differences one moves to formal difference, and to an idea of humanity that is nothing more than a formal function. Man is not a being within the world so much as a capacity to signify, exchange, and communicate.

     

    It is not surprising that Deleuze, like Foucault, makes much of the pre-Kantian experience of multiple folds and spaces. In his book on Leibniz and the fold Deleuze draws attention to the ways in which the baroque played upon the intrinsic differences of possible perceptions. Each point in the world is a monad, a perception that unfolds the world from itself without the requirement of a shared and anticipated space that is synthesized into the future. To say that “monads have no windows” is to say that a world is perceived and unfolded without the assumption or presupposition of perception in general. One has not yet troubled oneself or given man the responsibility for the genesis of space from his own time; one has not yet seen each perceiver as the effect or sign of a perception in general. Perception is not the condition, genesis, or origin of the spatial and temporal world; there are spatialities and temporalities of each monad. At one end, God is the full and clear perception of all space; at the other, are the singular perceptions of infinity, each monad’s perceptual grasp of the infinite that transcends it. By contrast, modern “man” stands, not for one perceiver among others, but for a purely formal power to perceive that also bears the imperative to perceive as any subject whatever. The deterritorialization that frees the perception of space from its own locale is reterritorialized onto consciousness in general, the subject for whom space is everywhere subject to the same formal and geometric logic. Man speaks as one who is already subjected to a system that gives him being, and who must in essence already be tied to any other possible speaker:

     

    The classical image of thought, and the striating of mental space it effects, aspires to universality. It in effect operates with two "universals," the Whole as the final ground of being or all-encompassing horizon, and the Subject as the principle that converts being into being-for-us (A Thousand Plateaus 379).

     

    From univocity, where space and perception are spread across a time and surface that transcends the human knower, equivocity establishes a single and formalizable condition of spatiality–the logic of the subject–which is both inescapable and unmasterable. Both Foucault and Deleuze note that this historical shift does not just have political implications but needs to be seen as the very negation of the political. Although they both have a common target–the equivocal ontology whereby consciousness is the substance from which the world’s spaces are constituted–Foucault and Deleuze differ as to the possibility of the re-politicization of space. We will deal with their arguments in turn.

     

    In The Order of Things, Foucault argues that there have always been two ethical modes. The first takes the form of Stoicism or Epicureanism, which is civic and urban and decides how one ought to live according to who and where one is (Order 327-28). This yields a decided and specific morality of political identity, where the civic self is other than the bare or biological life from which he and the polis are distanced. In modernity, which is the second ethical mode, morality is no longer possible and man, far from being defined through a polity that sets itself off from mere life, now turns only to himself. Politics takes as its object life in general, or that which can and must be recognized in any body whatever. What had once been a spatial and explicitly political decision–the division between the civic body of law and the mere life of nature–is now a division within each self, with bare life or our biological and hidden being providing the ground or substance for the operation of power: “any imperative is lodged within thought and its movement toward the apprehension of the unthought” (Order 328). Political decisions, whether they be the liberal concerns for human life and rights, or the horrifying control of the human species at the level of race and ethnicity, now operate upon that which has no specific space or locale. Humanity as such, at the level of life, is the primary political object, which is to say that the political is no longer the polis or the space of decision but that supposed ground that precedes all decision and particularity: “modern thought is advancing towards that region where man’s Other must become the same as himself” (Order 328).

     

    We can read this shift in the relation between space and the political in Foucault’s emblematic epochal vignettes. In Discipline and Punish, he describes the construction of political space through sovereign terror. The public torture of Damiens the regicide establishes the law as a body with the power to act upon life, and it is this potential to intervene in life which establishes the border between the lawful space of the polis and its constituted outside. Such a moment is an historical threshold announcing the possibility and space of modern power. The political body is deterritorialized: the relation among bodies of the polity is governed by a body (or the sovereign) whose intervention in life and death opens the potential for life as such to be the locus of power, or the medium through which relations are distributed. The sovereign body is excepted or placed outside the political territory through this act, which also establishes the polis as other than bodily life by the very violence of acting upon this singular body which has transgressed the polis. In the modern panopticon, by contrast, the body of law no longer divides mere life from the political space of order; each body is exemplary and bears the law within itself. Space is now organized in order to monitor, know, or manage life; where each life exposes something of any life whatever. The criminal is not a transgressing body, so much as a being whose will must be referred back to the domain of life in general–intention, psychology, sociology. Power is reterritorialized on the interiority of human life, that which causes and determines our relations to space and others. In the panopticon (and the human sciences that also locate man within a general life from which relations unfold), it is not only intentionality or the hidden which becomes the basis for the operation of power, but an intentionality that has its law outside any particular body and can provide the receding ground for us all. The prisoner’s body is no longer exceptional, punished as a sign of the possible terror of the law, but exemplary, bearing the same intentional life in which we can all read ourselves. Now, in response to this new relation between space and power, Foucault makes no claim as to the radical or reactionary organizations of space per se. His metaphorical use of space–that different epochs produce different historical a priori, or fields of relations within which we think, act, and speak–does not yield the demand for an organization of literal space that would free us from our commitment to subjectivism, or the notion of one life as the ground for history, language, and politics. One can see spatial events as expressive of the relations of power, and one can write about other political relations–the bodily relations that produce the ancient polity, and that do not presuppose some already constituted humanity. But Foucault explicitly refuses to step outside the historical spaces he describes in order to describe a politics of space as such (“Space” 354).

     

    Deleuze offers a similar account of the genesis of the subject and humanity, but differs from Foucault in two crucial respects. First, Deleuze remains committed to the notion of life: the disciplines of evolutionary science, linguistics, and even a form of psychoanalysis which explain the relations or strata that produce terms or points or relative stability. Thinking life radically, however, involves freeing the movements that produce any single series of relations, or any plateau, from any single term. Thus, neither biology, nor geology, nor linguistics, nor sociology, can account for life as such. Indeed, life is just that which unfolds in all these distinct series. Second, one can see each of these series or plateaus as a problem, as one of many ways in which the striving of life creates, produces, expands, and expresses itself. The problem with modern power in its capitalist form is just the reduction of all these series to the single plane of capital, all these forms of stratification to the space of man. Here, Deleuze is in accord with Foucault’s genealogy but allows for the thought of life, the problem of life, to open up a new space, a virtual space or a space of sense.

     

    Husserl had already argued that the formalizing or idealizing power of geometry allows one to repeat the truths of space to infinity. One establishes a science through an orientation or problem that goes beyond the given to its future and repeatable potential. Sense, for both Husserl and Deleuze, is this radical incorporeal power to release what is essential in an event from its material locale. The constitution of formal geometrical space therefore emerges from a certain sense, striving, or project. For Husserl, this is the sense of one humanity, occupying a single territory and history of truth and knowledge. Whereas Foucault and Derrida are critical of this one conscious life, this presupposed “we” or ground of consciousness, Deleuze affirms the power of thought and philosophy to intuit life as the source of difference, folds, relations, and spaces. Sense, philosophy, intuition, thinking and concepts all name the power to unleash other territories by imagining the given as an expression of a life that exceeds any of its fixed terms, and imagining the potential that can be unfolded from that expressive power.

     

    “Man,” or the modern subject of psychoanalysis or linguistics, closes down thinking if he is seen as the point from which differences and relations unfold. Accordingly, space, seen as the field occupied, measured, and constituted by this man of consciousness, is a field of interiority–a space within which we think, a space reducible to perceptions of this specific organism. Such a space operates from a combination of sense and affect. First, there are the affects of western man, the images that organize a plateau or constitute the social unit: the white face of the viewing subject, the black holes of eyes expressing an interior, a body dominated by speech and identified through their familial position as either mother or father (Anti-Oedipus 96-97). That is, the investing perception of a certain body part–the apprehension of the power of the face as organizing center–unfolds a sense of space, a way of orienting a field crucial to the territory of man.

     

    The faciality function showed us the form under which man constitutes the majority, or rather the standard upon which the majority is based: white, male, adult, "rational," etc., in short, the average European, the subject of enunciation (A Thousand Plateaus 292).

     

    From the specific affect of speaking man as subject and center, Deleuze and Guattari then describe the expansion or extrapolation of this affect to form a sense of space and time in general. The central point enables equivocity, where one privileged term is the organizing ground of the other; man becomes the substance upon which other terms depend and he also enables a single temporal plane:

     

    Following the law of arborescence, it is this central Point that moves across all of space or the entire screen, and at every turn nourishes a certain distinctive opposition, depending on which faciality trait is retained: male-(female), adult-(child), white-(black, yellow, or red); rational-(animal). The central point, or third eye, thus has the property of organizing binary distributions within the dualism machines, and of reproducing itself in the principal term of the opposition; the entire opposition at the same time resonates in the central point. The constitution of a "majority" as redundancy. Man constitutes himself as a gigantic memory, through the position of the central point. (A Thousand Plateaus 292-93)

     

    And all this is achieved at the expense of the line, for movement, desires, and trajectories are subordinated to the terms or points they produce. The effects of relations and desires–points–are taken as original, and in the constitution of an origin, Memory supplants memories:

     

    What constitutes arborescence is the submission of the line to the point. Of course, the child, the woman, the black have memories; but the Memory that collects those memories is still a virile majoritarian agency treating them as "childhood memories," as conjugal, or colonial memories (A Thousand Plateaus 293).

     

    Deleuze’s project is the expansion of sense beyond its localization in man, the expansion of the potential of geometry beyond its purposive or architectonic sense. The transcendental project, the striving to think the sense of space, has yet to be carried out beyond its dependence on man. The space of humanity has been constituted from the perception of an upright man of reason who regards all others as potentially or ideally just like himself. A radical striving toward sense must be transcendental and empirical: transcendental in its refusal of any image of thought or consciouness, and empirical in its observation of the different perceptions opened from different affective encounters. Sense is the potential to imagine other perceptions of the infinite, and the striving to think space positively: not the link between two points, but the power of life in its striving to create trajectories that open series or plateaus.

     

    One might think here, positively, of sacred land. Claims for the sacredness of land by indigenous peoples are not just examples or instances of the various ways in which “we” (humanity) grant space significance. For the key difference is that space here is not “significant”–not seen as a marker, symbol, or image of cultural memory. Whereas western understandings of monument use space to mark an event, and do so in order to call future humanity to recognize and retain its past, sacred land is both infinite–demanding recognition from others–and inherently affective. The infinite it opens is deemed to be real, and not simply a relative cultural construction; but at the same time this infinite cannot be known or appropriated by just any other. Indigenous Australian claims to the sacredness of land locate memory or spirit in the land itself, which is not a signifier of the past, so much as the affirmation of the ways in which bodies and land are created through their affective connections. A people is a people because of this land, and this land bears its affect, resonance, and spirit because of the dreaming of this people. At the same time, in accord with the positive reality of sense, the dreaming, spirit, or genius of space transcends present individuals and opens up into the future, requiring further creation and demonstration. There is not a time or a space, which is perceived here in one sense, there in another. There are distinct modes of sense, different ways in which perceptions imagine, intuit, and constitute an infinite.

     

    Conclusion

     

    Deleuze’s project is both critical and affirmative. Like Foucault and Derrida he is critical of the assumed center of a constituting consciousness or single body from which relations emerge. But Deleuze also wants to argue that the transcendental project–the striving to think space or life in general–needs to be carried beyond its human territory.

     

    The subject as universal humanity who operates on the single spatial and temporal plane of capitalism represents a distinct passage from affect to formal function. The white man of reason has no race, no body, no beliefs; he is nothing more than a power to relate to and recognize others. Capitalism is cynical and axiomatic; no body, image, or desire governs its domain. Man is the communicating, rationalizing, and laboring potential in us all. There is an abstraction from all tribalism and affective relations: territories are no longer constituted through investment in certain bodies or images. But this is possible only because one affective body–the image of oedipal man who is nothing more than a power to abstract from his body and speak–now allows the axiom of one global humanity. The gender neutral subject of modernity is produced as other than his bodily desire and is the white, western man of reason.

     

    The body of signifying, capitalist man is the body of reason, speech, communication, and submission to a law that one recognizes as one’s own, and therefore also of all others. One’s true being is that of “any subject whatever,” an affective investment in a body whose desires are now pure functions, who can recognize in all others the same human life, the same potential to liberate oneself from mere life and become fully human. Man is that body or point of life liberated from life, a desire not for this or that image or affect, but a desire to be other than affect. On the one hand, then, this subject of formal geometry and the space of humanity is reactive: a desire that wills itself not to will and in so doing submits itself to the negation of desire. One constitutes oneself as a point in humanity across one universal space and time. In so doing, however, desire is deprived of its own power, reterritorialized, or subordinated to one of its affects. The power to intuit or sense perceptions beyond one’s own purview is halted by the inclusion of all other perceivers as already within one’s own space and time. Deleuze’s own project is neither the inhabitation of a specific text or event of space–determining the points from which a space is drawn or delimited–nor the assertion of an absolute deterritorialization. Rather, from the thought of the constitution of this or that space from this or that desire, or from the thought of the potential of sense, one can think space as such in its infinite divergence: a thousand plateaus.

     

    We need to be wary of simply situating Deleuze, as a philosopher of singularity and affect, against universalizing or deterritorializing potentials. Indeed, at least half the power of his thought lies in his emphasis on intuition, on the capacity of perception to open the singular to its infinite force. We need to acknowledge Deleuze’s opposition to the globalizing subjectivism of capitalism, while at the same time recognizing his affirmation of the potential that has been domesticated by capitalism. Doing so will allow us to approach the politics of space through the dimension of both sense and affect.

     

    Notes

     

    1. See Edmund Husserl’s Origin of Geometry 153; hereafter, this text will be referred to parenthetically as EH.

     

    2. On the distinction between intensive and extensive spaces, see DeLanda. An intensive space is not made up of points that are all accorded the same value; rather, as one traverses an intensive space the space itself differs by, for example, speeding up in terms of its curvature, or (as in a weather map) altering in its pressures or potentials to change.

     

    3. Accordingly, there is a quantitative distinction among beings that allows for intrinsic difference. All these numerically different instances of white are still of whiteness, a power to differ that is essential and can be seen as really distinct only because it expresses itself over and over again. Space as extension allows for “extrinsic individuation” or the difference of this from that; but space as intensive is just the power of essential differences to express themselves, to repeat themselves in all their difference and thereby establish one expressive plane:

     

    Only a quantitative distinction of beings is consistent with the qualitative identity of the absolute. And this quantitative distinction is no mere appearance, but an internal difference, a difference of intensity. So that each finite being must be said to express the absolute, ... according, that is, to the degree of its power. Individuation is, in Spinoza, neither qualitative nor extrinsic, but quantitative and intrinsic, intensive. (Deleuze, Expressionism 197).

     

    4. In Anti-Oedipus, Deleuze and Guattari argue that desire is always revolutionary. Desire is not the desire for this or that lost object, or this or that supposedly natural need. Desire is the power for life to act, where action, movement and striving are not determined in advance by any proper end or intrinsic relation (377).

     

    5. This is why it is a mistake, I believe, to correct Deleuze and Guattari’s philosophy on the grounds that they have mis-read biology. According to Mark Hansen, Deleuze and Guattari privilege flows of becoming and creation and ignore the significant self-organization of organisms and the order of organisms as a power of nature. But Deleuze and Guattari’s philosophy is not based on biology and does not then use biology to explain other strata, such as art, language, or history. Rather, biological organization is one of the ways in which the differing and expressing power of life is manifested, and it is in other strata–such as philosophy–that the power to extend beyond organization can perhaps tell us something about powers actualized to a lesser degree in biological orders. I would therefore argue that no discipline or strata can explain or provide the model for any other. In What is Philosophy?, however, Deleuze and Guattari stress that certain strata–the human brain and its power to undertake philosophy, art, and science–not only actualize virtual powers in life, but allow life’s virtual power to be thought.

     

    6. It is precisely this space–one freed from an architectonic of full actualization and universality–that Derrida affirms in a number of contemporary projects. In Edmund Husserl’s Origin of Geometry, Derrida contrasts Husserl’s univocity with James Joyce’s equivocity. Joyce’s writing does not assume a ground of translatable sense that precedes or legitimates different languages, although the project of Finnegans Wake seems to comprehend this equivocity, bringing it within the space of the book (103).

     

    Works Cited

     

    • Bergson, Henri. Matter and Memory. Trans. Nancy Margaret Paul and W. Scott Palmer. London: Swan Sonnenschein, 1911.
    • —. Creative Evolution. Trans. Arthur Mitchell. New York: Dover, 1988.
    • DeLanda, Manuel. Intensive Science and Virtual Philosophy. London: Continuum, 2002.
    • Deleuze, Gilles. Expressionism in Philosophy: Spinoza. Trans. Martin Joughin. New York: Zone, 1992.
    • —. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP, 1994.
    • —. Foucault. Trans. Seán Hand. London: Athlone, 1988.
    • —. The Fold: Leibniz and the Baroque. Trans. Tom Conley. London: Athlone, 1993.
    • —. The Logic of Sense. Trans. Mark Lester with Charles Stivale. Ed. Constantin V. Boundas. New York: Columbia UP, 1990.
    • —. Negotiations: 1972-1990. Trans. Martin Joughin. New York: Columbia UP, 1995.
    • Deleuze, Gilles and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: U of Minnesota P, 1983.
    • —. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: U of Minnesota P, 1987.
    • —. What Is Philosophy? Trans. Hugh Tomlinson and Graham Burchell. New York: Columbia UP, 1996.
    • Derrida, Jacques. Dissemination. Trans. Barbara Johnson. Chicago: U of Chicago P, 1981.
    • —. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins UP, 1974.
    • —. Margins of Philosophy. Trans. Alan Bass. Sussex: Harvester, 1982.
    • —. Edmund Husserl’s Origin of Geometry: An Introduction. Trans. John P. Leavey, Jr. Lincoln: U of Nebraska P, 1989.
    • Foucault, Michel. The Order of Things. London: Tavistock, 1970.
    • — . “Space, Knowledge and Power.” Power: Essential Works of Foucault 1954-1984. Trans. Robert Hurley et. al. Ed. James D Faubion. Harmondsworth: Penguin, 2000: 349-64.
    • Hansen, Mark. “Becoming as Creative Involution?: Contextualizing Deleuze and Guattari’s Biophilosophy.” Postmodern Culture 11.1: 2001.
    • Heidegger, Martin. What is a Thing? Trans. W.B. Barton, Jr. and Vera Deutsch. Lanham: UP of America, 1967.
    • Tschumi, Bernard. Cinégramme Folie: Le Parc de la Villette. Princeton: Princeton Architectural, 1987.
    • Wigley, Mark. The Architecture of Deconstruction. Cambridge: MIT P, 1993.

     

  • The Différance of the World: Homage to Jacques Derrida

    Arkady Plotnitsky

    Theory and Cultural Studies Program
    Department of English
    Purdue University
    aplotnit@sla.purdue.edu

     

    With the death of Jacques Derrida, the world has lost one of its greatest philosophers, as well as one of the most controversial and misunderstood. But then, controversy and misunderstanding are part and parcel of philosophical greatness. Plato is still controversial and misunderstood, and is still our contemporary. So are René Descartes, Immanuel Kant, and Georg Wilhelm Friedrich Hegel, to name, by way of an Einsteinian metaphor, arguably the heaviest philosophical masses that define and shape, curve, the space of modern philosophy. Derrida is no exception, especially because his work in turn transforms the fabric of this space by its own mass and by its engagement with these figures. Modern physics no longer thinks of space as ever empty but instead as a kind of fabric or, to use the Latin word, textum of energy, or (once we think of the quantum fabric of this never empty space) that of energy and chance. So one might as well use this rather Derridean idea–of a textumof energy and chance–as a metaphor for the field of philosophy. The fortunes of Derrida’s philosophy, or “his chances,” lie partly in the controversy surrounding his work (“My Chances” 1).

     

    Derrida’s greatness, like that of Plato, Descartes, Kant, and Hegel, lies in the originality and power of his ideas, his lucidity and precision in expressing them, and in the rigor of his analysis–qualities his detractors often unjustly deny him. These are the qualities that primarily define his chances, in the play “of chance and necessity in calculations without end,” as Derrida said in 1967 in assessing the chances of différance, his most famous term, “neither a word nor a concept,” with which he was taking considerable philosophical risks at the time (Margins of Philosophy 7; emphasis added). Derrida has been appreciated for these qualities by a great many of his readers, his admirers and his fair-minded critics alike. It would only be faithful to the spirit and the letter of Derrida’s work and deconstruction to question, incessantly question his argument. But to be faithful to the spirit of true intellectual inquiry, one must do so in a fair-minded way in order, with and against Derrida, to move our thought forward.

     

    Derrida’s works are complex because they explore the ultimate complexity (intellectual, ethical, cultural, and political) of our world. One might even argue that a refusal to engage seriously with his thought and writing is often a refusal to confront this ultimate complexity, perhaps in particular insofar as this complexity is also that of the world that has moved from modernity to postmodernity and is defined by this transition. I would argue that, although extraordinary in many other respects, Derrida’s thought reflects, and reflects on, this movement wherever it occurs in our culture. “What has seemed necessary and urgent to me, in the historical situation which is our own,” Derrida said in 1971, in describing his earlier work, “is a general determination of the conditions for the emergence and the limits of philosophy, of metaphysics, of everything that carries it on and that it carries on” (Positions 51; emphasis added). Derrida’s concerns and domains of investigation change and extend to literature, ethics, politics, and elsewhere, although Derrida continued the philosophical project just described as well, a project that already involves many of these concerns and domains. The sense of what is “necessary and urgent . . . in the historical situation which is our own” was, however, to define the nature of all of his work for decades to come, decades we now see as the era of postmodernity.

     

    I am aware that it is difficult to assign an origin to or to demarcate either modernity or postmodernity, or their passing into each other, and indeed it is impossible to do so unconditionally, once and for all. I am also aware that Derrida expressly dissociated himself from some postmodernisms, even though he commented on the postmodern world itself on many occasions, for example, in The Other Heading: Reflections on Today’s Europe and in Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Many of his proponents and some self-appointed defenders went quite far in trying to dissociate Derrida from all (all!) postmodernism and, and more generally, to bring Derrida back into the fold of traditionalist thinking. I would argue, however, that while, as does most other revolutionary work, Derrida’s work respects and upholds many traditions and what is best in them, this work itself is essentially revolutionary and not traditionalist. As such, his work, say, from the 1960s on, also marks and is marked by the culture of postmodernity, or the postmodernity of culture, and may, accordingly, be seen as postmodernist, although, of course, not contained by this rubric. (I use “postmodernity” to denote the culture of roughly this period, and “postmodernist” to denote certain modes of thought, such as Derrida’s, that are both the products of this culture and, often, reflections on it.) Indeed, many of his critics associate his thinking with postmodernism and its “dangers.” By contrast, I argue not only that Derrida’s thought is postmodernist but also, and even primarily, that both the culture of postmodernity and, at its best, postmodernist thought are Derridean, in part by virtue of being shaped by Derrida’s work.

     

    Deconstruction and Writing

     

    Derrida is most famous as the (one can safely say “the”) founder of deconstruction, a term that has by now been disseminated well beyond the ways it is used by Derrida or by his fellow-thinkers and followers. This is an achievement in itself on Derrida’s part, even apart from the fact that this dissemination is best understood in terms of Derrida’s own conception of dissemination or différance-dissemination, which I explain later. Would one, were it not for Derrida, find “deconstruction” already in spell-check word-processing programs or in half a million Google listings? Would one have heard Henry Kissinger speak of a “deconstructive” approach to understanding controversial political situations as “taking a clock apart to see how it is ticking,” or Zbigniew Brzezinski speak of “deconstructing” our received ideas regarding Europe?

     

    These uses of the term are not so much misunderstandings as simplifications, although it would be difficult to imagine that either Kissinger or Brzezinski has read Derrida’s The Other Heading or Specters of Marx, where such political situations are given their due deconstructive complexities. To use Kissinger’s metaphor, Derrida’s work deals with clocks that have special secrets, and sometimes clocks within clocks. The metaphor is also peculiarly apt given that temporality is always at stake in Derrida’s deconstruction, from his earliest work on Edmund Husserl on. Like Einstein’s argument in relativity theory (a deconstruction of Newtonism?), Derrida’s deconstruction tells us that time itself (or space, or their relationship) does not exist, physically or phenomenally, independently of observation and of our instruments of observation, so as to be then represented by means of these instruments, such as clocks and rulers, or even by our theories. Instead, time and space, in any way we can observe or conceive of them, are effects of instruments–technologies–of observation and, again, of our theories, and even represent or embody our experimental and theoretical practices. This process may be best understood in terms of what Derrida calls writing, in part by extending, via Martin Heidegger, the idea of technology, tekhne. For the moment, Derrida also sees these deconstructive and, as such, again technological in the broad sense, written, processes of taking those clocks apart, and of putting them together, as themselves requiring deconstruction. In principle such deconstructive work never ends, as it builds new technologies, new forms of writing. But neither does, in principle, almost any real theoretical work or its production of new forms of writing. Will we ever be finished with understanding nature in physics, life in biology, mind in philosophy, literature in criticism, or with understanding how we understand them? Not altogether inconceivable, but not very likely!

     

    That is not to say that deconstruction does not achieve positive results or make new discoveries. For Derrida, deconstruction is both a critical and a positive or, as he liked to call it, an affirmative practice. It does have what Friedrich Nietzsche, arguably the greatest precursor of deconstruction, saw as a tragic sense of life, or, as Derrida calls it, life-death, “living on,” and “living on border lines,” the border lines of life and death. The complexity of Derrida’s deconstruction reflects, and reflects on, the complexity of the life-death processes of our bodies, minds, and cultures, and their technologies of writing.

     

    The concept of writing is one of Derrida’s most original contributions, arising from his understanding of the role of language in these processes, but, as must be clear already, it expands well beyond these limits. Indeed this expansion is necessary, given Derrida’s analysis of the workings of language as writing, which requires that we reconceive the nature of language itself and of the relationships among thought, language, and culture, but also enables us to do so. (I italicize writing when I use it in Derrida’s sense.) One should more rigorously speak of “neither a word nor a concept” here, but I shall (Derrida sometimes does as well) use the phrase “the concept of writing” for the sake of convenience, presupposing this qualification, which I shall further explain, via différance, later. It would be difficult to do Derrida’s analysis of writing justice here (it took Derrida himself hundreds of pages to develop his analysis), and almost nothing in Derrida can be “summarized without being mistreated,” as he once said about Hegel (Writing and Difference 254). It may however be worth commenting on Derrida’s writing in more detail here, both as one of the earliest and still most graphic examples of deconstruction, and as a crucial concept in its own right. For at stake here is not only a deconstruction, let alone merely the overturning of previous regimes and hierarchies, such as speech above writing, in their conventional sense. As Derrida writes, “it is not a question of resorting to the same concept of writing and of simply inverting the dissymmetry that now has become problematical. It is a question, rather, of producing a new concept of writing,” of “the irruptive emergence of a new ‘concept,’ a concept that can no longer be, and never could be, included in the previous regime” (Positions 26, 42). This type of deconstructive machinery and the workings of writing never left Derrida’s work. It is not that his subsequent work could be translated into this early project: he moved on to new and sometimes quite different work. There are, however, often implicit but essential workings of both deconstruction (in this initial sense) and writing throughout his work.

     

    Derrida’s concept of writing emerges through a deconstruction of the conventional and, as Derrida shows, unrigorous concept of writing. The latter defines writing as a representation of speech, while speech itself is, concomitantly, seen in (and as ensuring) the greatest possible proximity to thought, a form of what Derrida famously called the “metaphysics of presence,” and a manifestation of its avatars, such as logocentrism, phonocentrism, or phallogocentrism. A certain “science” (operative in a deconstructed field, as opposed to strictly positive or positivistic science) of writing was proposed by Derrida under the name of “grammatology” in Of Grammatology. Eventually or even immediately, the practice became disseminated (again, in Derrida’s sense) in more heterogeneous fields. This new “science” of writing was juxtaposed to Saussurean linguistics, specifically as the science of speech conceived in metaphysical opposition to and privileged over writing. By the same token, writing is also seen as auxiliary and, in principle (even if not in practice), dispensable, a claim that Derrida’s deconstruction shows to be impossible to sustain rigorously. Derrida shows more generally that this opposition and hierarchy (of thought placed over speech, and speech over writing) characterizes most philosophy, from Plato to Hegel and beyond, as the metaphysics of presence. Accordingly, even though ostensibly designed in opposition to philosophy, and specifically to phenomenology, linguistics is shown to be complicit with philosophy as the metaphysics of presence. This deconstruction extends to other human or social sciences, such as anthropology (specifically that of Claude Lévi-Strauss), which are often, especially as part of the structuralist paradigm, modeled on linguistics. If, however, this conventional, philosophical concept of writing is shown to be uncritical, the same–and this is crucial–is also true of the conventional concept of speech or of thought. Derrida’s analysis of writing reconceptualizes all three as part of the same deconstructive-constructive process, strategically borrowing the name “writing,” “the old name,” from the subordinate member of the metaphysical opposition of speech and writing for his new concept (Margins 329).

     

    The argument just described offers a paradigmatic example of deconstruction. Its technique or tekhne applies to “all the pairs of opposites on which philosophy is constructed and on which our discourse lives” (Margins 17). Derrida’s deconstruction does not dispense with or merely reverse such opposites (they are usually hierarchical), but explains their necessity in their specificity within a given field, and resituates and re-delimits them in a new deconstructed conceptual field it creates (Margins 17). One must produce new concepts “that can no longer be, and never could be, included in the previous regime,” possibly by using a reversal as a phase of such an analysis and by, strategically, borrowing a name, such as that of writing, from a subordinate member of a given hierarchy. In other words, a given (old) configuration continues to function, both in re-delimited old regimes and in new regimes, rather than being simply abandoned, although some portions of it must be given up.

     

    In what I find to be his best single description, Derrida specifies the “nuclear traits of all writing,” writing that is at work “always and everywhere throughout language,” to borrow from Derrida on Heidegger (Margins 27):

     

    the break with the horizon of communication as the communication of consciousnesses and presences, and as the linguistic or semantic transport of meaning; (2) the subtraction of all writing from the semantic horizon or the hermeneutic horizon which, at least as a horizon of meaning, lets itself be punctured by writing; (3) the necessity of, in a way, separating the concept of polysemia [as a controlled or controllable plurality of meaning] from the concept I have elsewhere named dissemination [an uncontrollable plurality of meaning], which is also the concept of writing; (4) the disqualification or the limit of the concept of the "real" or "linguistic" context, whose theoretical determination or empirical saturation are, strictly speaking, rendered impossible or insufficient by writing. (Margins 316; emphasis on "writing" added)

     

    To the extent that one could use a single definition here, one might say that writing in Derrida’s sense disrupts and prevents the ultimate (but only ultimate) possibility of controlling the play of difference and multiplicity in any meaning production or communication. As this passage indicates, in the process of the deconstruction of conventional or narrow writing and the production of a new, Derridean, concept of writing, a network of new concepts is produced, a network that, by definition, cannot be closed: différance, dissemination, trace, supplement, etc. Indeed, this production and this interminable generation, “eruptive emergence,” of new concepts is necessary and unavoidable.

     

    The conceptual field thus emerging acquires tremendous theoretical potential and allows one to attach the reconfigurative operator (of Derrida’s) writing to other conventional denominations and to transform them accordingly. There could be writing-thinking, writing-speech, writing-writing, writing-philosophy, writing-literature, writing-criticism, writing-reading, writing-painting, and even writing-dancing, as in Stéphane Mallarmé’s Mimique, where indeed, according to Derrida, all these forms of writing interact (Dissemination 223). Writing-mathematics and writing-science become possible as well, and Derrida’s analysis relates the question of writing to the question of mathematical formalism via Descartes and Leibniz in a remarkable section of Of Grammatology, “Algebra: Arcanum and Transparence” (75-81). Derrida shows that there is writing in Derrida’s sense in mathematical algebra, and, reciprocally, a certain “algebra” in writing in the conventional sense: that algebra becomes part of the practice of writing in Derrida’s sense and is actively deployed by it.

     

    Deconstruction, then, is a work of rethinking a given concept or phenomenon, such as writing (in its conventional sense), which may appear familiar and simple, but is in fact constituted through complex intellectual, linguistic, psychological, or cultural processes. It is a discovery and exploration of the deeper layers of such processes, and a creation of new concepts, such as writing (in Derrida’s sense), which enables such discoveries and explorations.

     

    Beyond their analytical value, these discoveries, explorations, and creations of concepts have broad ethical, cultural, and political implications. Derrida examines these implications throughout his work, and his philosophical thought is inseparable from his remarkable contributions to many crucial cultural and political debates of our time. His ethical and political subjects–such as democracy, hospitality, friendship, responsibility, forgiveness, and capital punishment–and encounters–especially with Marx, Benjamin, and Levinas–powerfully manifest this inseparability in his philosophical work of the last decade. It would be difficult to overestimate Derrida’s significance for feminist and gender theory, where Derrida has such distinguished followers as Luce Irigaray, Hélène Cixous, and Judith Butler; postcolonial theory, where the work of such Derrideans as Gayatri Spivak played a major role; and Marxist and post-Marxist thought, where his ideas influence such authors as Ernesto Laclau and Chantal Mouffe, and Fredric Jameson, among others. On a more practical-political side (if one can separate sides here), Derrida made decisive interventions on such issues as apartheid in South Africa, on the Middle East, the new (post-Soviet) Europe, and the Iraq War (both Iraq Wars). His role on the French intellectual and political scene was of course essential, as Jacques Chirac (hardly a deconstructionist) admiringly acknowledged in his announcement of Derrida’s death as the death of a thinker who, “through his work . . . sought to find the free movement which lies in the root of all thinking.” Derrida’s work has shaped our world for a long time and it will continue to do so for a long time to come. I also argue that it has done and will continue to do so not in small part because it reflected on and shaped this world as the world of postmodernity, as these specifically cultural and political contributions would indicate as well. But then, again, they remain inseparable from Derrida’s philosophical thought and writing.

     

    Absolute Knowledge and Unnamable Différance

     

    There are, to use his term, many “junctures” of Derrida’s work to support an argument that Derrida is a thinker of the culture of postmodernity and (the inversion is appropriate) of the postmodernity of our culture–the différance of the postmodern–beginning with the juncture of “Structure, Sign, and Play in the Discourse of the Human Sciences” (Writing and Difference). That essay arguably initiated (and still defines) poststructuralist and, via poststructuralism, postmodernist thought, and many of the debates and controversies that surround them. Ironically, the essay was initially given in English in 1966 at a conference at Johns Hopkins University and published in The Structuralist Controversy: The Languages of Criticism and the Sciences of Man (eds. Richard Macksey and Eugenio Donato, Johns Hopkins UP, 1969). It is ironic because with this essay Derrida almost single-handedly ended the controversy, or not so much the controversy as structuralism itself, and moved the Western-philosophical landscape on to poststructuralism and postmodernism. The essay has remained uncircumventable ever since, to use Derrida’s word [incontournable], applied by him to “Heidegger’s meditation” but, by now, no less applicable to his own thought (Margins 22).

     

    One might, correlatively, consider “the juncture–rather than the summation” of différance, the juncture, Derrida also says, “of what has been most decisively inscribed in the thought of what is conveniently called our ‘epoch’” (“Differance,” Speech and Phenomena 130, a statement which does not appear in the text published in Margins of Philosophy). This “epoch” is also the postmodern “epoch” (using this term as a convenient abbreviation, as Derrida does by way of allusion to Husserl’s phenomenological reduction) and the postmodernist type of inscription: a juncture rather than a summation. Différance itself may be the most postmodernist of Derrida’s concepts, especially if coupled with dissemination, as it must be. Derrida most immediately mentions Friedrich Nietzsche, Ferdinand de Saussure, Sigmund Freud, Emmanuel Levinas, and Martin Heidegger, but Hegel, Husserl, Georges Bataille, and, more implicitly Jacques Lacan and Gilles Deleuze are part of this juncture as well. These, along with Derrida himself, are all figures, or, as Derrida would say, names of problems that define the movement of our thought from modernism to postmodernism and beyond (Of Grammatology 99).

     

    It may well be, however, that what reflects this movement more than anything in Derrida’s writing and, with Derrida, in general is a transformation of Hegelian Absolute Knowledge, the philosophical idea that is a paradigm of modernity and/asthe Enlightenment, into the irreducibly decentered and disseminating multiplicity, différance, of the postmodern. This différance replaces the claim for Absolute Knowledge, its very possibility, with a different economy, a marketplace or, as Derrida says, an auction of knowledge and claims upon it (Post Card 521).

     

    “Decentering” is one of Derrida’s earliest terms, made famous and controversial by “Structure, Sign, and Play.” It is worth noting at the outset that Derridean decentering is not defined by the absence of all centrality (a common misconception). Instead it is defined by multicentering, a potential emergence of many centers and claims upon one or another centrality in the absence of a single, absolute center that would define its alternatives as unconditionally marginal. To cite the uncircumventable “Structure, Sign, and Play”:

     

    Turned toward the lost or impossible presence of the absent origin, this structuralist thematic of broken immediacy is therefore the saddened, negative, nostalgic, guilty, Rousseauistic side of the thinking of play whose other side would be the Nietzschean affirmation, that is the joyous affirmation of the play of the world and of the innocence of becoming, the affirmation of a world of signs without fault, without truth, and without origin which is offered to an active interpretation. This interpretation then determines the noncenter otherwise than as loss of the center. And it plays without security. For there is a sure play: that which is limited to the substitution of given and existing, present, pieces. In absolute chance, affirmation also surrenders itself to genetic indetermination, to the seminal adventure of the trace. (Writing and Difference 292)

     

    Dissemination appears later, by way, in addition to Hegel, of Plato (pharmakon), Stéphane Mallarmé (hymen and undecidability), Lacan, Philippe Sollers, and several others. Dissemination is inherent in the movement of différance, and Derrida sometimes refers to it as “seminal différance” (Positions 45). Both are part of Derrida’s ensemble of interrelated but different neither-words-nor-concepts–différance, dissemination, trace, supplement, writing, etc., as this list, itself subject to the regime of différance and dissemination, has no termination, taxonomical closure, or center that could determinately organize it, for example, around any of its terms, such as différance. For, under these conditions, there cannot be “the unique word, . . . the finally proper name” (Margins 27). According to Derrida, in commenting on the relationships between différance and Heideggerian “difference,” which is governed by Heidegger’s concept of “Being,”

     

    "older" than Being itself, such a différance has no name in our language. But we "already know" that if it is unnameable, it is not provisionally so, not because our language has not yet found or received this name, or because we would have to seek it in another language, outside the finite system of our own. It is rather because there is no name for it at all, not even the name of essence or of Being, not even that of "différance," which is not a name, which is not a pure nominal unity, and unceasingly dislocates itself in a chain of differing and deferring substitutions. "There is no name for it": a proposition to be read in its platitude. This unnameable is not an ineffable Being which no name could approach: God, for example. This unnameable is the play which makes possible nominal effects, the relatively unitary and atomic structures that are called names, the chains of substitutions of names in which, for example, the nominal effect différance is itself enmeshed, carried off, reinscribed, just as a false entry or a false exit is still part of the game, a function of the system. (Margins 26-27)

     

    By the same token, “the efficacy of the thematic of différance may very well, indeed must, one day be superseded, lending itself if not to its own replacement, at least to enmeshing itself in a chain that in truth it never will have governed” (7). This is indeed what has happened, has always already happened, even in the very moment of this inscription, in Derrida’s own work, which is, again, the work of a rigorous proliferation, the dissemination of names. “Whereby,” he adds, “once again, it [différance] is not theological” (7; also Margins 6). This difference from all theology, positive or negative, is crucial for Derrida’s inscription of différance and, I would argue, for all of Derrida’s thought, earlier or later, some appearances in his later works and certain claims concerning them notwithstanding. It defines his work as materialist, even though and because it also juxtaposes this deconstructive materialism to all metaphysical materialism (all idealism of matter, one might say), from Positions to Specters of Marx (Positions 64).

     

    In closing “Différance,” Derrida extends and elaborates the Nietzschean themes of “Structure, Sign, and Play”:

     

    There will be no unique name, even if it were the name of Being. And we must think this without nostalgia, that is, outside of the myth of a purely maternal or paternal language, a lost native country of thought. On the contrary, we must affirmthis, in the sense in which Nietzsche puts affirmation into play, in a certain laughter and a certain step of the dance.From the vantage of this laughter and this dance, from the vantage of this affirmation foreign to all dialectics, the other side of nostalgia, what I will call Heideggerian hope, comes into question [a hope for finding a single word, the unique word, in order to name the essential nature of Being]. . . .

     

    Such is the question: the alliance of speech and Being in the unique word, in the finally proper name. And such is the question inscribed in the simulated affirmation of différance. It bears (on) each member of this sentence: "Being / speaks / always and everywhere / throughout / language." (Margins 27)

     

    Between Heidegger and Derrida, or Hegel (dialectic) and Derrida, and with Nietzsche and Derrida, Samuel Beckett’s The Unnamable may come close to this “simulated affirmation of différance.” It may be one of Derrida’s literary models, although he never expressly considers it (Acts of Literature 61-62).

     

    These Derridean themes figure significantly in many discussions and definitions of postmodernity and postmodernism, from Lyotard on. An important conceptual and epistemological determination of the postmodern is the concept of the uncontainable and multicentered multiplicity, which correlates to various forms of loss of knowledge, posited against the centered pyramid required or desired by the Enlightenment paradigm (Hegelian Absolute Knowledge), to echo Derrida’s themes of the pit and the pyramid of Hegel in “The Pit and the Pyramid: Introduction to Hegelian Semiology” and “Différance” (Margins 4, 69-108).

     

    Under these conditions of the irretrievable loss of “the unique word, the finally proper name,” différance refers to an in principle interminable play of differences, similarities, and interrelations in any meaning production. As part of this play, and as a modification of the French word “différer” (to differ), différance connotes a dynamics of difference and deferral or delay (in presentation). It is crucial, however, that Derrida conceives of différance and of the unconceivable of différance much more broadly:

     

    What is written as différance, then, will be the playing movement that "produces"--by means of something that is not simply an activity--these differences, these effects of difference. This does not mean that the différance that produces differences is somehow before them, in a simple and unmodified--in-different--present. Différance is the non-full, non-simple, structured and differentiating origin of differences. Thus, the name "origin" no longer suits it. . . . we will designate as différance the movement according to which language, or any code, any system of referral in general, is constituted "historically" as a weave of differences. "Is constituted," "is produced," "is created," "movement," "historically," etc., necessarily being understood beyond the metaphysical language in which they are retained, along with all their implications. (Margins 11-12)

     

    Accordingly, in working with its satellites and avatars, différance is productive of and responsible for manifest effects, “effect[s] without cause[s]” of difference, or identity, similarity, relationality, and so forth, or, as we have seen, effects of différance, effects that make us infer différance as their efficacy (Margins 12, 26-27). Différance itself, however, remains irreducibly inaccessible–unknowable, unrepresentable, inconceivable, unthinkable, and so forth (Margins 20-21). At the same time and by the same token, it is also never the same, is always disseminated. That is, while each time unknowable, unrepresentable, inconceivable, or unthinkable, it is each time different and reciprocal with its effects.

     

    Dissemination denotes that part of this play which entails an ultimately uncontrollable multiplicity, inherent, it follows, already in the workings of différance as each time different, disseminating itself, both in itself (i.e., under its own name) and into its proximates and avatars. As such, dissemination is juxtaposed to a controllable plurality of the Hegelian dialectical Aufhebung (Hegel’s favorite term, which has in German a triple meaning of negation, conservation, and supercession, and is accordingly untranslatable), and is analogous to conceptions of plurality or polysemia in philosophy, psychoanalysis, linguistics, and elsewhere. But then it also follows that différance already displaces Hegel in this way and that it entails dissemination, “seminal différance” (Margins 13-14; Positions 43-45). As Derrida says, “the operator of generality named dissemination inserted itself into the open chain of différance, ‘supplement,’ ‘pharmakon,’ ‘hymen,’ etc.”; it carries many features of différance and is defined in virtually the same terms, but with an emphasis on a multiplicity of effects or, again, multicentering (Positions 44-45). Both différance and dissemination, and their companion operators in the Derridean deconstructive field, enact a deconstruction of Hegel’s dialectic and of the Hegelian economy of Absolute Knowledge.

     

    Accordingly,

     

    if there were a definition of différance, it would be precisely the limit, the interruption, the destruction of the Hegelian relève [Aufhebung, thus read] wherever it operates. What is at stake here is enormous. I emphasize the Hegelian Aufhebung, such as it is interpreted by a certain Hegelian discourse, for it goes without saying that the double [triple] meaning of Aufhebung could be written otherwise. Whence the proximity of différance to all the operations conducted against Hegel's dialectical speculation. (Positions 40-41; translation modified)

     

     

    The difference (and sometimes différance) between Hegel and Hegelianism inscribed here requires a long discussion, and the stakes are indeed enormous. Might one read Hegel’s Absolute Knowledge along the lines of différance? Perhaps. This would be Derrida’s answer as well: Hegel is “the last philosopher of the book and the first thinker of writing” (Of Grammatology 26). For “the destruction of the Hegelian relève” notwithstanding, and indeed in order to enact it, “différance thus written, although maintaining relations of profound affinity with Hegelian discourse (such as it must be read), is also, up to a certain point, unable to break with that discourse (which has no kind of meaning or chance); but it [différance] can operate a kind of infinitesimal and radical displacement of it [Hegelian discourse]” (Margins 14; also Positions 43-44). By the time of Glas, this “displacement” reaches close to a thousand pages, and the delineation itself is never finished. The interminability of this encounter confirms Derrida’s statement in Positions: “it is still a question of elucidating the relationship to Hegel–a difficult labor, which for the most part remains before us, and which in a certain way is interminable, at least if one wishes to execute it rigorously and minutely” (43-44).

     

    The same type of “profound affinity and yet infinitesimal and radical displacement” defines nearly all of Derrida’s relationships to the major figures he engages. It is a long list, in itself reflecting the relationships–in turn a profound affinity and yet infinitesimal and radical displacement–between modernity and postmodernity, and the complexity of Derrida’s work and the magnitude of his achievement. An incomplete list includes, in roughly chronological order, Plato, Aristotle, Descartes, Rousseau, Kant, Hegel, Marx, Heidegger, Freud, Saussure, Husserl, Heidegger, Levinas, Bataille, Blanchot, and Lacan. If Nietzsche is conspicuous by his absence, it is because in this case it is difficult to speak of displacement, as Derrida’s assessment of and his encounters with Nietzsche indicate (Of Grammatology 19; Spurs: Nietzsche’s Style [throughout]). Literature is yet another story, yet another long list of proper names.

     

    The enormity of the Hegelian stakes appears to be ever undiminished in Derrida. Derrida returns to Glas in closing The Post Card: From Socrates to Freud and Beyond. He specifically addresses Freud and Lacan, and the economy, the political economy of psychoanalysis, a life-long engagement on Derrida’s part. Exposing the philosophical significance of psychoanalytic economy is one of Derrida’s major achievements. The implications of Derrida’s point at the end of The Post Card, however, are broader still. He writes:

     

    The question then becomes--and it is not only political, although it is also political, it is the question of general deconstruction . . . the question then becomes:Who will pay whom . . .?

     

    Or, if you prefer, the thing already having been broached, who has it paid to whom?

     

    The bidding has been opened–for some time.

     

    Let us say that what I write or what makes me write (for example, since there are not only the texts, this time I mean the publications) would represent in this respect only one offer.

     

    An offer on the scene in which the attempts to occupy the place of the Sa (that is, of the Savoir absolu stenographed in Glas) are multiplying, that is, simultaneously all the places, those of the seller, the buyer, and the auctioneer. (Post Card 520-51)

     

    It is worth noting, yet again, the multicentering of claims upon the center which accompany the structural decentering of the economy of knowledge at stake, which is also in part a political economy. We are and have been for quite a while on this scene. Always? Perhaps, at least to some degree, but never as much as now, in the postmodern intellectual, cultural, or political world. Derrida’s offer is (as he will say later, teleopoetically) that of a philosophical argument concerning or an inscription of the very condition, “the postmodern condition,” under which this offer is made. This argument is itself defined by a “profound affinity and yet infinitesimal and radical displacement” of Hegel’s Absolute Knowledge, in part via Freud and Lacan. It is crucial, however, that, in this view, Derrida can only make an offer, one offer among others, traditional and radical, modern and postmodern, and so forth, and various versions of absolute knowledge are still offered at this auction, if there is only one auction underway here.

     

    The question is whether any such offer can still dominate this marketplace and this auction. We recall, with Deleuze, that philosophy itself was born in such an agora, the marketplace of democracy (the first democracy?), at which Socrates offered, and Plato bought, his version of absolute knowledge. It is a version against which every argument and claim, philosophical, ethical, or political, and of course all literature, would have to be measured. The Socrates/Plato “deal” is of course crucially at stake in The Post Card (the post card sent from “from Socrates to Freud and Beyond”), but Hegel, Heidegger, Freud, and Lacan are all part of our own economy of knowledge. Derrida inscribes this bargain–Socrates speaks, Plato writes, or vice versa–in any of the relations between these figures, and others such as Kant, Descartes, and Rousseau can be added to the list. This Derridean condition transforms knowledge, in part as “the postmodern condition,” along the lines of Lyotard’s argument in The Postmodern Condition: A Report on Knowledge at about the same time (1979).

     

    Joyce, Derrida tells us, has already inscribed this new space of the claim(s) to occupy the space of absolute knowledge in “an immense postcard” of his own, Ulysses, which Derrida is always rewriting, including in The Post Card, all his life (Acts of Literature 260-262). One is, however, equally tempted to use Derrida’s passage as a reading of an auction, like the one in which Oedipa Maas awaits in the final scene of Thomas Pynchon’s The Crying of Lot 49, an icon of literary postmodernism. Still, writing in Derrida’s sense underwrites everything here, including literature, which modern and postmodern democracy authorizes–such is the literary contract we signed as a society, reflected in any given actual literary contract–to say everything and anything and collect our payments, as readers, for doing so (Acts of Literature, 37-49; On the Name 27-31). But then, again:

     

    Who will pay whom . . . ?
    Or, if you prefer, the thing already having been broached, who has it paid to whom?

    Chaosmic Différance and Funeral Rites

     

    We have been bidding on this offer, on all these offers, for quite a while, but the auction is far from over. “What is at stake here is enormous,” between philosophy and literature, each of which is already split into literature and philosophy from within. The columns–Plato’s Philebus, philosophy, on the left, Mallarmé’s Mimique, literature, on the right–of the opening pages of “The Double Session” anticipate Glas: “INTER Platonem and Mallarmatum,” (in) between Plato and Mallarmé, (in) between Hegel and Mallarmé, or indeed between Hegel and Plato (Dissemination 181). Each, as the name of a problem, is already between philosophy and literature, as is of course Derrida.

     

    Politics is inevitably inserted, entered into all these “in-betweens,” and many a specter of Marx hovers over the book. As an authorization (legal, political, and ethical) to say everything and anything, literature is fundamentally linked both to capitalism and to democracy, and to their relations, to begin with (On the Name 27-30). “The time is out of joint” (Derrida’s theme, via Hamlet, in Specters of Marx) already in early 1969, when Derrida delivered the original version of “The Double Session,” in the aftermath of 1968, one of the most out-of-joint years of the second half of the century, and a defining year of postmodernity. “The Paris spring,” “the Prague August” of the Soviet invasion (Prague, where he was arrested once, came to play a significant role in Derrida’s life), the Vietnam War, the assassination of Martin Luther King, Jr. and Robert Kennedy, were among its events (also in the sense of something unique, singular that Derrida gave this word later). The opening of “The End of Man,” given as a lecture in October 1968 in New York, is a powerful instance of Derrida’s response to these events (Margins 111-14). Hegel remains central to the essay as well, which, however, is hardly in conflict, quite the contrary, with its political urgency, then or now. Hegel’s Phenomenology, Derrida says, with Bataille, is “the slave(‘s) language, that is, the worker(‘s) language . . . [it] can be read from left to right or from right to left, as a reactionary movement or as a revolutionary movement, or both at once” (Writing and Difference 276).

     

    We can read the columns of Glas this way too, each often split in turn into further columns–between philosophy and literature, literature and politics, literature and revolution, between Hegel and Genet, between Kant and Hegel, in Rembrandt’s chiaroscuros (Glas 1b), between Derrida and all these names. (Derrida returns to Rembrandt in Memoirs of the Blind.) In general, Glas is to shape so much, perhaps (for the reasons set forward here) nearly everything, in later Derrida, but of course it does not define this later work altogether. On the left–or is it, at least politically, on the right, or between left and right?–we are between Kant and Hegel, on ethics, morality, and politics. We see both figures through ethics, morality, and politics (in part via Levinas): “the two sides face each other” (Glas 11a). On the right–or is it, politically, on the left, with literature and the acts of literature?–the column splits into two. On the left of the split, the left of the right, one finds:

     

    Colossal habitat: the masterpiece.
    He bands erect in his seing, but also occupies it like a sarcophagus. (Glas 11b)

     

    “Colossal habitat” is also the Universe itself, God’s masterpiece, envisioned by Kant’s analysis of the colossal, placed between, in between, the beautiful and the sublime (thus also between understanding and reason), a vision of the Universe as a colossal and perhaps innumerable assembly of galaxies. It is still Galileo’s and then Newton’s “book of nature written in the language of mathematics,” a point not missed in Of Grammatology (16; translation modified, emphasis added). Derrida fittingly closes his “Parergon” with this vision, where he also alludes to Glas and anticipates The Post Card (Truth in Painting 145-47).

     

    Now, although the point would require a long excursion into modern mathematics, science, and cosmology, and it could only be, to use Derrida’s language, telegraphed, tele-graphed here, I would argue that Derrida is also a philosopher of the Universe as we see it now, in the following sense. What his philosophy reflects and philosophically reflects on (however implicitly) is the transition from Copernicus to Kepler’s Harmonia Mundi to Galileo’s book of nature to Kant’s galactic colossal, and finally to post-Einsteinian relativistic cosmology. This cosmology still uses the language of mathematics, but it makes this language writing. The Universe itself, the visible and the invisible in it, looks more and more like a kind of différance, both on the largest and on the smallest (quantum) scales, especially when one combines, as modern physics must, nature’s smallest and largest scales. Thus both modern physics and Derrida bring us to the différance of the Universe–the chaosmic différance, a play of energy and chance–a différance that also makes speaking of the Universe rigorously impossible. In other words, Derrida can also be seen as a thinker of our material habitats (without claiming or even attempting to be one), as he is a philosopher of our cultural habitats. It would be tempting to link this différance of nature primarily to Kant, and the différance of politics and culture, as described above, to Hegel. But this never-one différance is just as much the différance in-between Kant and Hegel as it is in-between nature and culture, from “Structure, Sign, and Play” on, to which Derrida and we continue to return, eternally return, as Nietzsche (the main figure of the essay) would have it.

     

    On the right of the right column of Genet at this juncture of Glas is Genet’s conception of the ultimate major (“capitale,” but also decapitated) colossal masterpiece literature authorized by a contract, and by the contract we have signed with “the strange institution called literature” (Acts of Literature 33):

     

    Glory again, with which the syllabary is initiated, in the future perfect, in the publishing contract, signed with the institution (family and city), that is, with the funeral rite, the burial organization. Tearing up the contract, the literary operation reverts to no more than confirming it undefatigably, in the margin, with a siglum. "There is a book entitled I'll Have a Fine Funeral. We are acting with a view to a fine funeral, to formal obsequies. They will be the masterpiece, in the strict sense of the word, the major [capitale] work, quite rightly the crowning glory of our life. I must die in an apotheosis, and it doesn't matter whether I know glory before or after my death as long as I know that I'll have it, and I shall have it if I sign a contract with a firm of undertakers that will attend to fulfilling my destiny, to rounding it off." At the moment of the "theatrical stunt [coup]," in Funeral Rites, when they "slid" the coffin onto the catafalque--"the conjuring away of the coffin"--before its reduction, as with the coffin of "Saint-Osmose" (a fictive letter about the Golden Legend--published in Italian) into a box of matches, "Jean's death was duplicating itself in another death." (Glas 11b)

     

    Genet and Derrida may have been thinking (for glas means knell, to begin with), of Joyce’s Finnegans Wake, the funeral rite of literary modernism and yet another colossal postcard, replacing the book of absolute knowledge with writing in Derrida’s sense, just as Glas and The Post Card, perhaps all of Derrida’s books are, the “book[s] that will not have been book[s],” colossal postcards sent to Socrates and Freud and so many other writers between and beyond them, and to all of us.

     

    “There are more things in heaven and earth, Horatio, /Than are dreamt of in your philosophy,” in heaven and earth, in spirit and matter, in light and darkness, in space and time. “And therefore as a stranger give it welcome,” we may say with Hamlet (Hamlet, Act II. ii, 165-68). It is a welcome to Derrida’s philosophy, a philosophy, like Shakespeare’s literature, of the strangeness and complexity of life. Shakespeare appears in Derrida rarely enough, now and then, here and there, but often decisively, as in “My Chances,” where Derrida cites these very lines on the way to “How malicious is my fortune” from King Lear. “The sense of remorse or misfortune . . . the regret I [Derrida] feel in not having attempted with you, as I initially projected, an analysis of King Lear. . . . I would have followed” (“My Chances” 29). Never enough time! It is only a few lines below that Hamlet is to say, with the voice of the Ghost intervening from below, that “the time is out of joint” (ii, 189). These are of course the lines through which Derrida is to address, a few centuries later in the epoch of capitalism, our own time in Specters of Marx. The theme follows him politically through the end of his life, in his writings and in his interventions into the often tragic events that were to shape and reshape the world during the last decade. “To set it right” (“O cursed spite/That ever I was born to set it right” [ii, 189-90]): that is yet another story in which such notions as “right” and “setting” need to be rethought. Many specters, ghosts of Derrida will likely be the permanent guests of this rethinking, in which we must “go together” with our guests and ghosts alike. “Go together” are the words that Hamlet says to his companions, friends, waiting for him to go ahead of them, as befits courtly etiquette. With these words Shakespeare closes the scene (ii, 191).

     

    Derrida is no longer with us, but, in the différance of our chaosmic world, deconstruction will continue under many a name and in many a field, “if we live, and go on thinking,” as John Keats once said. Keats also used the occasion to invoke the “grand march of intellect” (Rollins, ed., Letters 1: 281-82). It would be difficult to find a better description of either Derrida’s own work or what it can help us to achieve–if we go on thinking together.

     

    Works Cited

    • Derrida, Jacques. Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1997.
    • —. Adieu to Emmanuel Levinas. Trans. Pascale-Anne Brault and Michael Naas. Stanford: Stanford UP, 1999.
    • —. Dissemination. Trans. Barbara Johnson. Chicago: U of Chicago P, 1981.
    • —. Glas. Trans. John P. Leavey, Jr. and Richard Rand. Lincoln: U of Nebraska P, 1986.
    • —. “Living on: Border Lines.” Trans. James Hulbert. Ed. Harold Bloom et al. Deconstruction and Criticism. New York: Continuum, 1979.
    • —. Margins of Philosophy. Trans. Alan Bass. Chicago: U of Chicago P, 1982.
    • —. Memoirs of the Blind: The Self-Portrait and Other Ruins. Trans. Pascale-Anne Brault and Michael Naas. Chicago: U of Chicago P, 1993.
    • —. “My Chances/Mes Chances: A Rendezvous with Some Epicurean Stereophonies.” Eds. Joseph H. Smith and William Kerrigan. Taking Chances: Derrida, Psychoanalysis and Literature. Baltimore: Johns Hopkins UP, 1984.
    • —. Of Grammatology. Trans. Gayatri C. Spivak. Baltimore: Johns Hopkins UP, 1974.
    • —. On the Name. Ed. Thomas Dutoit. Stanford: Stanford UP, 1995.
    • —. The Other Heading: Reflections on Today’s Europe. Trans. Pascale-Anne Brault and Michael Naas. Bloomington: Indiana UP, 1991.
    • —. Positions. Trans. Alan Bass. Chicago: U of Chicago P, 1981.
    • —. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: U of Chicago P, 1987.
    • —. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Trans. Peggy Kamuf. New York: Routledge, 1994.
    • —. Speech and Phenomena, and Other Essays on Husserl’s Theory of Signs. Trans. David B. Allison. Evanston: Northwestern UP, 1973.
    • —. Spurs: Nietzsche’s Style. Trans. Barbara Harlow. Chicago: U of Chicago P, 1979.
    • —. The Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago: U of Chicago P, 1987.
    • —. Writing and Difference. Trans. Alan Bass. Chicago: U of Chicago P, 1978.

     

  • Some Day My Mom Will Come

    Heather Love

    Department of English
    University of Pennsylvania
    loveh@english.upenn.edu

     

    Review of: Esther Sánchez-Pardo, Cultures of the Death Drive: Melanie Klein and Modernist Melancholia.Durham: Duke UP, 2003.

     

    Back in 1979, Robert Hass wrote, “all the new thinking is about loss. In this it resembles all the old thinking.” He seemed to be referring to the lack of adequation between language and reality: “because there is in this world no one thing to which the bramble of blackberry corresponds, a word is elegy to the thing it signifies” (4). Things aren’t that different in 2005: the fading of the object world can still break your heart. But the most recent thinking about loss doesn’t tend to be about language or representation. Rather, loss is increasingly played in the register of the world-historical, as critics have drawn on psychoanalytic models to consider the intersection between individual and collective trauma. Witness, memorialization, haunting, and the melancholy of just about everything: such work has taken up the question of “the politics of mourning.” What might constitute an ethical relation to the past? How can we draw on the losses of the past in order to imagine new futures?

     

    I like the new thinking about loss very much, but sometimes I get to thinking about the old thinking about loss, about stories older and darker than Hass’s blackberry. For instance: Uranus and Gaia have twelve children; Uranus hates them, so he buries them inside their mother’s body, deep in the earth; Gaia gives her son Cronus a big knife and he castrates his father, frees his siblings, and rules over them. Cronus then has several children with his sister, all of whom he eats at birth to keep them from betraying him in turn. This works pretty well until his son tricks him into vomiting up his brothers and sisters, and they send their devouring father down into the underworld. Now that’s loss!

     

    Now that the foundations of the world have been laid, it is hard to match these antics. One place to look, however, is in the annals of psychoanalysis, where such cycles of revenge, retribution, and flesh-eating are played out on the much smaller stage of the individual psyche. Melanie Klein (1882-1960) was particularly attuned to such dynamics. In her pioneering work in child analysis and the field of object relations, she described the mix of paranoia and jealousy, rage and anxiety, brewing inside even the smallest of human minds. Several decades later her work continues to shock with its uncompromising view of the psychic life of babies.

     

    Klein made a number of important theoretical innovations with which critics and analysts are still coming to terms. While analysts before her had “analyzed” children by talking to their parents, Klein developed a technique to work with very young children directly, in an approach that combined play and talk. Her work is at the origin of the field of object-relations psychoanalysis, which sees development as implicated from the very start in the relation to others and which has appealed to many as an alternative to the Freudian tradition. Originally a disciple of Freud, Klein moved to England and drifted away from orthodoxy, finally distancing herself publicly in a series of debates in the 1940s (the Controversial Discussions) with, among others, Anna Freud. She challenged many central tenets of Freud’s notion of development: she situated the Oedipal crisis much earlier in time, challenged the notion of penis envy, and cast childhood experience in terms of “positions” rather than in terms of a developmental sequence of phases. In an especially dissident move, Klein developed a model of infantile experience that focused almost exclusively on the figure of the mother. Feminists have been drawn to this version of psychic development that focuses on the relation between the baby and the mother instead of on castration, the phallus, and the father.

     

    Some have tried to imagine Klein’s account of early childhood as a kindler, gentler alternative to Freud’s, but it is not easy to do. For Klein, the relation between the mother and the child offers no refuge from violence. The infant does receive some satisfaction from the mother’s care, and it is out of such experiences that the internal image of the Good Mother is formed. But at just about the same time, the image of the Bad Mother is born out of experiences of frustration and disappointment. In this earliest phase of development, which Klein called the “paranoid-schizoid position,” the baby keeps these two images as far apart as possible, in order to keep the Bad from spoiling the Good; one of the key developmental tasks (and this can take a lifetime) is to integrate these two images and to survive the realization that these two opposed experiences have the same source.

     

    The very bloodiest battles of object relations are fought between mother and child. The objects that make up the internal world are just what you might expect would be important to a little baby: breasts, mouths, feces, penises. While once in a while it is possible to get a good object and to keep it safely inside, mostly these objects are in pieces, and they are angry. Klein writes,

     

    The little girl has a sadistic desire, originating in the early stages of the Oedipus conflict, to rob the mother’s body of its contents, namely, the father’s penis, faeces, children, and to destroy the mother herself. This desire gives rise to anxiety lest the mother should in her turn rob the little girl of the contents of her body (especially of children) and lest her body should be destroyed or mutilated. In my view, this anxiety, which I have found in the analyses of girls and women to be the deepest anxiety of all, represents the little girl’s earliest danger situation. (92)

     

    The early life of the child looks in that case more like Seed of Chucky than like a scene of oceanic bliss. This is perhaps what Jacques Lacan had in mind when he referred to Melanie Klein as an “inspired gut butcher” (qtd. in Kristeva 230).

     

    Klein’s version of infant life, however, is made up of equal parts rending violence and restorative sadness. These infantile situations recur throughout life. While they are the cause of continuing anxiety and aggression, they also give rise to other feelings, also central to Klein’s project: longing, concern, and the desire for reparation. The crucial developmental turn for the child is from the “paranoid-schizoid position” (characterized by splitting and unbridled aggression) to the “depressive position,” where the child actually feels concern for the objects under attack. Listen as Klein describes the “infantile depressive position,” a state which she understands as “melancholia in statu nascendi“:

     

    The baby experiences depressive feelings which reach a climax just before, during, and after weaning. . . . The object which is being mourned is the mother’s breast and all that the breast and the milk have come to stand in for in the infant’s mind: namely, love, goodness, and security. All these are felt by the baby to be lost, and lost as a result of his own uncontrollable greedy and destructive phantasies and impulses against his mother’s breasts. Further distress about impending loss (this time of both parents) arises out of the Oedipus situation, which sets in so early and in such close connection with breast frustrations that in its beginnings it is dominated by oral impulses and fears. The circle of loved objects who are attacked in phantasy and whose loss is therefore feared widens according to the child’s ambivalent relations to his brothers and sisters. The aggression against phantasied brothers and sisters, who are attacked inside the mother’s body, also gives rise to feelings of guilt and loss. The sorrow and concern about the feared loss of the “good” objects, that is to say, the depressive position, is, in my experience, the deepest source of painful conflicts in the Oedipus situation, as well as in the child’s relations to people in general. (147-48)

     

    The widening circle of violence here recalls the clashes of the Titans–but the guilt and concern are new. While Klein in no way underestimates the pure cussedness of this greedy little baby, she sees a potential for repair in the feelings of loss that accompany the urge to destroy. Klein offers an appealing conjunction: on the one hand, she recognizes just how bad things can be; at the same time, she points toward a desire (albeit a desire couched in depression) that they should be better.

     

    Such a conjunction is at the heart of Esther Sánchez-Pardo’s attraction to Klein’s work in her recent book, Cultures of the Death Drive: Melanie Klein and Modernist Melancholia. The title of the book is drawn from Freud’s characterization of melancholia. In his famous distinction between mourning and melancholia, Freud describes melancholia as a form of pathological mourning in which loss is disavowed and the lost object is internalized and becomes subject to recrimination. He writes, “what is now holding sway in the superego is, as it were, a pure culture of the death instinct, and in fact it often succeeds in driving the ego into death, if the latter does not fend off its tyrant in time ” (54-55). Sánchez-Pardo draws not only on Freud’s account of melancholia but also on work by Sándor Ferenczi, Karl Abraham, Sándor Radó, Nicholas Abraham, and Maria Torok, and others, at the same time standing by her claim that “Melanie Klein is the theorist of melancholia par excellence” (4).

     

    Like many contemporary critics, Sánchez-Pardo attempts to bridge the gap between psychoanalytic accounts of individual subjectivity and historicist accounts of the social world. She puts forward a very particular definition of the “culture of the death drive,” one that draws as much on the social conditions of the early twentieth century as it does on a transhistorical notion of a death instinct:

     

    It is my contention that melancholia is generated by what I call “cultures of the death drive,” a variety of forces that produce melancholia, a malaise affecting the “privileged” victims of a new urban, industrialized, and capitalist world order: women, lesbians, gay men, blacks, Jews, ethnic minorities, and in general those who suffered the consequences of deterritorialization and diaspora after the wars. (194)

     

    Sánchez-Pardo understands melancholia as something socially produced. While its relation to childhood “positions” cannot be set aside, it is the result of particular historical forms of exclusion. As a result, she argues, it attaches to particular kinds of people.

     

    Cultural, social, historical, political, and psychosexual factors bear on the production of individuals who are prone to melancholia. One of the conclusions of this study is that women, feminine masochists, lesbians, and gay men are more prone to melancholia. To engage in psychoanalytic and textual inquiry into the reasons why these heterogeneous groups are privileged victims of modernist melancholia is one of my aims. (195)

     

    Sánchez-Pardo is hardly the first person to suggest that women, feminine masochists, lesbians, and gay men are “more prone to melancholia.” Like so many central psychoanalytic concepts, melancholia has been taken up to offer yet another perspective on what is wrong–really deeply wrong–with homosexuals, women, racially marked subjects, and people not from Western Europe. This is not at all what Sánchez-Pardo means, however. Sánchez-Pardo comes to diagnose society, not the individual. She sees melancholia not as a matter of arrested development or any other personal “fault”; rather, it is a result of the social exclusion of modernity’s others. This social violence is a matter of concern and care for Sánchez-Pardo: like the depressive infant, she has reparation on her mind.

     

    Such a task is laudable–even, you might say, a matter of pressing personal concern. And Sánchez-Pardo works very hard. Cultures of the Death Drive is a massive text, almost more like two books than one. The first section is a close analysis of Klein, with special emphasis on her cultural context and on the importance of gender and sexuality in her work. The second focuses on melancholia in modernism, and considers several literary and visual texts through a Kleinian psychoanalytic lens. The book will be of interest to people with varying levels of familiarity with Klein; while Meira Likierman’s recent book on Klein might be clearer and Julia Kristeva’s weirder, Sánchez-Pardo’s specific emphasis on melancholia, the social, and modernist aesthetics is valuable.

     

    Part II of the book begins with a chapter (really more like a second introduction) in which Sánchez-Pardo surveys major modernist scholarship of the last few decades and announces her intention to analyze the “cultural, literary, and artistic production of women, lesbians, gay men, and racialized and stigmatized Others” (205). She goes on to devote chapters to the work of Virginia Woolf, Lytton Strachey, Djuna Barnes, and Countee Cullen. Though these authors do fill out the list of “stigmatized Others” that she mentions, the exclusive focus on their work is hard to explain. There are so many figures whom she might have considered under this rubric: Charles Baudelaire and Marcel Proust, for instance, or Marguerite Yourcenar, Jean Toomer, or Jean Rhys. It might also make sense to move beyond the traditional limits of modernism to more recent writers such as Marguerite Duras, Tsitsi Dangarembga, or W. G. Sebald. What about Elfriede Jelinek? She seems to be living in a pure culture of the death drive.

     

    The problem is not so much that these are not good choices for talking about modernism and melancholia–they are. The problem is rather that, despite repeated acts of definition, the contours of this project never emerge with real clarity. So much interesting theoretical and cultural work has been done on the intersection of representation, melancholia, and the social in recent years that it has become increasingly difficult to stake out fresh terrain. However, some of the most relevant recent work in the field does not appear in this study. Critics such as Anne Anlin Cheng, David L. Eng, and Ranjana Khanna have engaged deeply with questions of racialization and melancholia; it would also be interesting to take up the writings of Frantz Fanon and Octave Mannoni, whose writing was foundational for these critics. Given that sexuality is so central to her project, it is odd that Sánchez-Pardo does not engage more fully with the work of queer critics who focus on the politics of mourning and negativity (Douglas Crimp, Leo Bersani, or Tim Dean, for instance).

     

    The position of psychoanalysis in the contemporary intellectual climate is insecure enough that books that depend on a psychoanalytic framework often include an implicit or explicit apology for this approach. On the one side, psychoanalysis has been attacked by the skeptics, those who have argued that Freud was a bad scientist (see, for instance, Frederick Crewes’s edited collection Unauthorized Freud); on the other, it has been attacked by social theorists who object to its privatizing and ahistorical focus on the individual psyche.

     

    Although a lot of recent work in queer, postcolonial, and critical race studies draws on psychoanalysis, it remains a hard sell for modernity’s “privileged victims.” Psychoanalysis is at the heart of the modern project of normalization that gives birth to these Others. And the rest, you might say, is history–the project of naming and identifying in this period is inseparable from stigmatization and violence. Sánchez-Pardo works hard to keep Klein clear of these charges. In particular, she presents a version of Kleinian theory that emphasizes the flexibility of gender and sexual positions, arguing that “Klein did not fall into the traps of the furor curandi and the pathologization of homosexuality by which most of her contemporaries were driven” (115).

     

    There is some truth in this claim, and there are certainly ways in which Klein’s take on gender and sexuality offers an appealing alternative to Freud’s take on gender and sexuality. (There are, of course, ways in which Freud’s take on gender and sexuality offer an appealing alternative to Freud’s take on gender and sexuality as well, but that is another story.) But there is also a sense in which one simply cannot avoid “falling into the trap” of pathologizing homosexuality because homosexuality is like that–it comes pre-pathologized. Even Sánchez-Pardo’s significantly groovy take on sexual development falls into that trap, if it is one.

     

    It is almost impossible to track the way to homosexuality. Simply put, there is no single way, not even psychoanalytically speaking, and certainly not in Klein’s narrative of the Oedipus conflict. Klein posits only one prerequisite for the attainment of the normal (i.e., the most common) heterosexual position, the supremacy of the good mother-imago, which helps the boy to overcome his sadism and works against all his various anxieties. (114-15)

     

    The slip between normal defined as “the most common” and normal defined as right–between the descriptive and the normative–is a confusion that is endemic to modernity. But it is particularly exacerbated in psychoanalysis, which retains its legacy as a curative science.

     

    Still, if psychoanalysis is a cure, it is a poisoned cure, one that incorporates the gut-wrenching (and sometimes even gut-butchering) realities of psychic and social life. And when it comes to talking about loss and its repercussions, nobody does it better. At the end of the book, Sánchez-Pardo writes, “throughout this volume, I have been pervasively and systematically addressing loss, something that has come to interest many of us during this period, when loss, trauma, and aggression seem to be of great concern” (391). Sánchez-Pardo is undoubtedly right about this focus, and it’s hard to imagine the situation changing anytime soon.

     

    Furthermore, this book asks what loss is good for: “What political and social forms of freedom, we ask, can be derived from Klein’s theorization of the relationship between melancholia and the depressive position? And to what extent, then, can we return for models of freedom to a modernist aesthetic that dwells on and draws its force from the memorializing of social ‘loss’?” (388). While Sánchez-Pardo does not answer such questions, she takes an important first step by insisting on loss. In a world in which disavowal and aggression hold sway–in which paranoid-schizoid tendencies seem to be winning out over depressive ones–sorrow, longing, and concern are themselves crucial to the work of reparation.

    Works Cited

     

    • Freud, Sigmund. The Ego and the Id. Trans. Joan Riviere. New York: Norton, 1960.
    • Hass, Robert. “Meditation at Lagunitas.” Praise. Hopewell, NJ: Ecco, 1990.
    • Klein, Melanie. The Selected Melanie Klein. Ed. Juliet Mitchell. New York: Free, 1986.
    • Kristeva, Julia. Melanie Klein. Trans. Ross Gubermann. New York: Columbia UP, 2001.

     

  • Whose Conspiracy Theory?

    Andrew Strombeck

    Department of English
    University of California, Davis
    amstrombeck@ucdavis.edu

     

    Review of: Peter Knight, Conspiracy Culture: From Kennedy to the X-Files.New York: Routledge, 2000.

     

    In the post-9/11 world, cultural paranoia and its number-one star, conspiracy theory, have reemerged with a vigor unseen since their heyday in the fifties. The Bush Administration’s anti-terrorism rhetoric could be characterized as a form of conspiracy theory, epitomized by Bush’s use of “Axis of Evil” to conflate the undeniably different Iraq, Iran, and North Korea. On the left, a relentless stream of conspiracy-minded notions (some, of course, with a basis in truth) have been associated with the Administration, from a secret plan to cancel the 2004 elections to the idea of an “October Surprise” featuring the reappearance of an always-already captured Osama Bin Laden to the now infamous “Bush bulge.” Such an atmosphere heightens the need for a critical evaluation of conspiracy theory like Peter Knight’s Conspiracy Culture: From Kennedy to the X-Files. (A note on terminology: in this essay, “conspiracy theory” and “conspiracy culture” refer to thinking about actual conspiracies; “conspiracy theory criticism” refers to second-level thinking about conspiracy theory.) Knight, a lecturer in American Studies at the University of Manchester, makes a compelling case for the emergence of a widespread “conspiracy culture” in the post-Kennedy era, using evidence from literature, popular culture, and conspiracy subcultures. This conspiracy culture is indeed pervasive. Its components include an American government increasingly obsessed with secrecy, a popular politics of suspicion developed in response to this secrecy, and a host of cultural productions that simultaneously parody and spread these conspiracies. Knight argues that conspiracy theory indexes a larger alienation characteristic of late capitalist life, that conspiracy theory “express[es] a not entirely unfounded suspicion that the normal order of things itself amounts to a conspiracy,” a claim validated by the tone of post-9/11 politics. Yet while Knight is astute in reading recent conspiracy culture as more pervasive than assumed by earlier critics like Richard Hofstadter, Knight seems too ready to sever the connection between conspiracy theories associated particularly with “right-wing white men” and a wider conspiracy culture. Even while recognizing that conspiracy theory is differently experienced by different subjects, Knight resists asking why conspiracy theory has by and large remained the property of white men.

     

    This book is part of a recent cabal of conspiracy theory criticism, which includes Mark Fenster’s Conspiracy Theories: Secrecy and Power in American Life, Timothy Melley’s Empire of Conspiracy: The Culture of Paranoia in Postwar America, Patrick O’Donnell’s Latent Destinies: Cultural Paranoia and Contemporary U.S. Narrative and Jodi Dean’s Aliens in America: Conspiracy Cultures from Outerspace to Cyberspace. Knight himself is something of a conspiracy-theory industry, having in the past four years edited both a collection of essays (Conspiracy Nation: The Politics of Paranoia in Postwar America) and a multi-volume conspiracy encyclopedia (Conspiracy Theories in American History). The publication of this conspiracy criticism has been propelled, perhaps, by the reemergence of conspiracy culture in the 1990s, represented on the one hand by the sustained popularity of The X-Files, which highlighted the playful aspects of conspiracy subculture, and on the other by Timothy McVeigh’s 1995 bombing of the Alfred P. Murrah Federal Building in Oklahoma City, which unveiled to the public an active and conspiracy-minded militia subculture. Like Knight’s work, all of this criticism seeks to debunk the idea, generally associated with Richard Hofstadter’s “The Paranoid Style in American Politics” (1963), that conspiracy theory is the exclusive domain of an extremist right. Part of the project at work here is the establishment of conspiracy theory as a legitimate object of study, a move that, while less than perfectly necessary after two decades of cultural criticism, works against a dominant ideology that posits conspiracy theory as extremist fringe defined as pathological against a “healthy politics” associated with a pluralist middle. Knight begins by carefully differentiating his sense of a wide conspiracy culture from the narrow vision of conspiracy theory offered by its debunkers, who would include–in addition to Hofstadter–professor of Middle Eastern studies Daniel Pipes and feminist literary critic Elaine Showalter. These critics, instead of trying to understand the cultural causes of conspiracy theory, hold it up to a “gold standard of rationality” and maintain that it represents instances of personal pathology–paranoia–projected onto an outside world (11). Cultural studies, of course, has its own pitfalls, and Knight warns against these in describing what he sees as Fenster’s “bending over backwards to find the glimmerings of utopian political desires buried in the products of conspiracy theory” (20). Instead, Knight sets out to determine just what it is that makes conspiracy theorists tick.

     

    Knight differentiates this newer conspiracy culture from Hofstadter’s extremist vision in several ways: Knight argues that in the postwar era, the U.S. government has become more secretive, a shift best represented by the classifying of thousands of Kennedy assassination documents. During the postwar era, the U.S. intelligence community has ballooned (the CIA was founded in 1947), and revelations of this community’s wrongdoings have tumbled out in a steady stream (the Church hearings in the seventies, the Iran-Contra hearings in the eighties, etc.). This results in what Knight, following Michael Rogin, describes as a “spectacle” of secrecy in American politics (29). In response to this increased governmental intrigue (or at least the perception of such), Americans have embraced conspiracy as an explanation. This sense of conspiracy is based not on the idea of a unilateral conspiracy accomplished by a single secretive group, but on the idea that large institutions–corporations and governments–control everyday life. Contemporary conspiracy culture also differs from its extremist form in its intensity of belief; in conspiracy culture, conspiracy is “less an item of inflexible faith than an often uncoordinated expression of doubt and distrust” (44). Finally, our conspiracy culture differs from its predecessors in its playfulness. Knight cites a variety of sources, most prominently The X-Files but also conspiracy-themed publications like Disinformation.com and The Steamshovel Press, that treat conspiracy with a mixture of irony and sincerity.

     

    Knight sees conspiracy culture as, to an extent, coterminous with postmodern culture; his reading of the simultaneous emergence of both comes across most clearly in his (mandatory for conspiracy criticism) chapter on the Kennedy assassination. Echoing pronouncements by Baudrillard and Fredric Jameson, Knight calls the assassination a “primal scene of postmodernism” because it heralds a sense of “unmanageable reality” (116). The assassination produces an endless proliferation of conspiracy narratives, none of which provides any closure (115). While new evidence continually surfaces–the 1992 Assassination Records Review Board identifies an astonishing 4.5 million documents and items related to the assassination–this evidence offers little access to any “deep” meaning about the assassination. Knight gives a good sense of the desire circulating around the assassination, a desire he shows at work both in thousands of amateur assassination researchers and in postmodern writers (DeLillo, Ellroy, Mailer) who take up the assassination.

     

    In his next two chapters on feminist and African-American uses of conspiracy theory, Knight demonstrates how conspiracy theory shares yet another facet with postmodernism, its rejection of universalist “metanarratives” in favor of local stories about particular subjects. These chapters offer fresh ways to consider the uses of conspiracy theory for disempowered subjects while demonstrating the critical limits that are hardwired into conspiracy narratives. Knight argues that for some feminist and African-American writers, conspiracy theories become a way to narrate the real historical forces that are in fact aligned against them: patriarchy and racism. Since both patriarchy and racism operate in a variety of spheres–domestic, economic, political, social–conspiracy theory provides a way to imagine these forces as totalities. Moreover, conspiracy theory provides the leverage necessary to pry open a dominant ideology that posits both patriarchy and racism as already-solved problems. Even so, conspiracy theory presents certain formal limits that stunt its tactical usefulness. Using Betty Friedan, The Stepford Wives, radical feminist manifestos, Mary Daly’s Gyn/Ecology, and Naomi Wolf’s The Beauty Myth, Knight shows that the language of conspiracy pervades some feminist texts in the form of male supremacist cabals, the “brainwashing” of women, etc. Conspiracy theories, Knight argues, provide a way to name a “faceless problem” (135). The difficulty, Knight points out, is that conspiracy theory not only figures but also creates hierarchies; both Friedan and Wolf, in order to write, have to locate the conspiracy as acting on women other than themselves. Knight, drawing on Patricia Turner’s I Heard It Through the Grapevine, finds similar uses of conspiracy theory at work in African-American communities; the essential point here is that “unconscious thoughts and behavior of whites amount to a conspiracy to keep African Americans oppressed . . . life in the ghetto is the same as if there had been a deliberate conspiracy” (146). For African Americans and other minorities, conspiracy theory functions differently than it does for whites; because of the historical forces aligned against them, Knight argues, conspiracy “comes naturally” to minorities. While this idea has its potential pitfalls, particularly the implicit suggestion that African-American conspiracy theory is an inevitable kind of pathology, it does point to an important concept: that conspiracy theory is experienced differently by different subjects. Knight’s analysis implicitly revisits the quandary of postmodern agency: how to articulate “the death of the subject” at the very moment when nonwhite, non-male subjects have been granted agency. With its obsession with invisible cabals and institutional intrigue, conspiracy culture rehearses anxiety over the death of the subject. But Knight’s reading of African-American and feminist conspiracy theory reveals subjects that are very much intact, with conspiracy theory serving to reinforce identities rather than threaten them.

     

    Knight concludes that contemporary conspiracy culture at its best offers a vertiginous sense that “everything is connected.” This idea, which echoes Fredric Jameson’s argument in the first half of The Geopolitical Aesthetic, is that conspiracy narratives both reflect and distort the lived conditions of late capitalist globalization. It is an idea both compelling and reductive. On the one hand, it readily explains the prevalence of conspiracy theories under late capitalism, but on the other, it reinforces the notion that there is a singular subject (implicitly white and male) who experiences late capitalism through a universal lens. While Knight seems thus accurately to diagnose the impossibility of late capitalist political knowledge, so establishing the exigency of conspiracy theory, he implicitly celebrates a postmodern third person, without attending, as he does elsewhere in the book, to the uneven ways in which conspiracy theories are deployed across different political subjects and the ways in which they may function differently, to take just one of his examples, for African Americans.

     

    If most earlier conspiracy theories worked to demonize some Americans (African Americans, Native Americans, immigrants) for the benefit of others (white males), is a postmodern irony enough to allow contemporary conspiratorial explanations to evade this demonization? A more nuanced account of contemporary conspiracy theory might foreground the disciplinary mechanisms latent within conspiracy discourse, asking, for example, whether some forms of conspiracy theory favor some subjects over others; this is an analysis Knight points toward but does not complete in his chapters on African-American and feminist conspiracy theories. Such an account might go further toward explaining why, though it has at times been useful to other subjects, conspiracy theory remains, in its production and consumption and in its highest literary forms (DeLillo and Pynchon), largely the province of white men. This qualification seems especially important when the major critics of conspiracy theory–with some exceptions, notably Patricia Turner and Jodi Dean–are themselves white men. The field threatens to become a refuge for white masculinity within cultural criticism instead of an opportunity for a self-conscious consideration of the limitations white masculinity places on discourse.

     

    This particular lapse points to other blind spots. The largest of these–one that exists with other works of conspiracy criticism–lies with Knight’s too-rigid differentiation between earlier conspiracies–he refers to these as conspiracies of the Us-vs.-Them variety–and contemporary conspiracy culture. In part, this separation mischaracterizes early conspiracy theories. As David Bennet demonstrates in The Party of Fear: From Nativist Movements to the New Right in American History, conspiratorial explanations have long been important within American history; president Andrew Jackson, for example, gained political capital by crusading both against the “many-headed hydra” of the National Bank and, in a subtler fashion, against the “pernicious” influence of immigrant-linked Catholicism. Thus, to locate pre-Kennedy conspiracy theory as solely the domain of “extremists” is misleading and belies the deep genealogical connection between “extremist” conspiracy theory and contemporary conspiracy culture.

     

    Conspiracy Culture gives readers a sense of conspiracy theory as a complex cultural phenomenon, one capable both of binding together popular fears, extremist beliefs, and politics proper and of “keep[ing] aloft several different explanatory possibilities at the same time, refusing to let any one element of the paranormal, the paranoid, and the conspiratorial claim the final ground of stability” (191). Conspiracy theory self-consciously engages with a host of theoretical issues, including disciplinary power, feminism, anti-racism, and political theory, in the process emerging as critical theory’s alternate universe, a universe in which all the issues are the same and all the conclusions different. This “parallelism” is thus the source of conspiracy theory’s potential and its shortcomings; it is also an important warning for the cultural critic, who only at his or her peril fails to look hard into conspiracy theory’s cracked mirror.

     

    If the conspiracy culture Knight describes is a multiplicity along the lines that Deleuze and Guattari describe in Anti-Oedipus, it is not a multiplicity without limits; in conspiracy theory, anti-Oedipus needs its Oedipus. With conspiracy theory reemerging as a powerful political force in America, questions like these become crucial in understanding and engaging in politics. Conspiracy theories may be energizing, but for whom? Knight does good work toward analyzing the ideological function of conspiracy theory, demonstrating how conspiracy theory’s forms are both used and interpreted differently by different gender and minority subcultures. His overall analysis is accurate, with this qualification: the feeling that “everything is connected” remains a state of affairs enjoyed most thoroughly by the white men best positioned to take advantage of it.

     

    Work Cited

     

    • Bennett, David H. The Party of Fear: From Nativist Movements to the New Right in American History. Chapel Hill: U North Carolina P, 1988.

     

  • Whither the Actually Existing Internet?

    Chris McGahan

    English Department
    Yeshiva University
    clm7458@nyu.edu

     

    Review of: McKenzie Wark, A Hacker Manifesto. Cambridge: Harvard UP, 2004; and Vincent Mosco, The Digital Sublime: Myth, Power, and Cyberspace.Cambridge: MIT P, 2004.

     

    Anyone with an interest in political and cultural developments in and around cyberspace would welcome new books by McKenzie Wark and Vincent Mosco. Coming from different angles–Wark from critical theory (with a clearly evident debt to the idiosyncratic work of Paul Virilio) and Mosco from the political economy of media–both writers have already made important contributions to a still-emergent body of literature on new media and the Internet. Though one can point to exemplary Internet scholarship like Slater and Miller’s The Internet: An Ethnographic Approach, too few critical texts address the Internet as the technocultural phenomenon it has become. In 1999, such a problem would have been regrettable, yet understandable, given the relative novelty of the Internet as a medium for political advocacy, mass and micro cultures, and webs of commerce; today, it is nothing short of lamentable.

     

    Mosco and Wark thus deserve credit for having done a great deal, in texts like the former’s “Webs of Myth and Power: Connectivity and the New Computer Technopolis” (2000) and the latter’s Virtual Geography: Living with Global Media Events (1994), to throw light on the practical and theoretical dimensions of the network society. In the article noted above and in other recent texts, Mosco has assiduously tracked how the realities of the global division of labor and capital’s movement to radically reconfigure media markets give the lie to utopian claims about the democratization effects supposedly inherent to the ever-wider spread of information technologies. Wark’s pioneering discussion of global media events in Virtual Geography established an early theoretical framework useful for later examinations of some of the key cultural factors bearing on the dissemination of information on the Internet.

     

    In Wark’s A Hacker Manifesto and Mosco’s The Digital Sublime: Myth, Power and Cyberspace, the authors attempt to surpass the reach of their previous work. On the one hand, Wark postulates that hackers, understood in a broad sense to include intellectual laborers who use information technologies in their work, constitute a new “class” equipped with a revolutionary capacity to do battle with capital via the “vector,” Wark’s term for the global circulation of information; on the other hand, Mosco provides a broad examination of the discursive bases upon which popular and academic understandings of cyberspace have tended to be uncritically associated with dubious concepts like “the end of history” and “the disappearance of geography.” Wark thus delivers up an argument that is in some measure rooted in political economy, while Mosco departs from the terrain of political economy proper to investigate the ideological underpinnings of cybercultural myth-making. In both cases, these ambitious projects provide valuable insights into Internet culture and politics. Before getting to a discussion of these, however, I want to indicate a general problem with the methodology employed by both projects. In the spirit of Wark’s manifesto, I will call this problem “the filtering out of actually existing cyberspace.”

     

    An unfortunate feature of these books is the degree to which they speak about hackers (however broadly categorized) or the mythical “digital sublime” while paying little attention to what actually happens when hackers become involved in or are subjected to Internet social networks, institutional protocols, and cultural genres. One can search almost entirely in vain in these texts for specific instances of cybercultural practice. Now, it is possible to identify certain understandable reasons of method for this omission. In Wark’s case, the form of the manifesto does not permit detailed discussion, and Mosco self-avowedly seeks to analyze the “myths” framing academic and popular understandings of the Internet rather than talk about what netizens are actually getting up to online. That said, this review will show that the cogency of Mosco’s and Wark’s arguments is weakened by the absence of sustained consideration of actually existing cyberspace.

     

    Since its release earlier this year, A Hacker Manifesto has attracted a lot of attention, including a review by Terry Eagleton in the 25 October 2004 issue of The Nation. Beyond the author’s stature–Wark is now professor of media and cultural studies at the New School University–a likely reason for the book’s having drawn such interest is its loose focus on hacking; after all, two decades after its emergence as a hot topic in popular culture, the cultural work of hackers is still surrounded by more mystique than understanding. Because, however, Wark has framed his project so as to address a much wider set of issues, his book is unlikely to clear up many common misperceptions regarding the practical or ideological orientation of hacking or hackers. Another reason for the book’s notoriety is that its analysis extends a thesis put forward recently and notably in Hardt and Negri’s widely read Empire: that the global body of technologically literate culture and service industry workers (for Hardt and Negri, “social workers”) has the potential to become, via their privileged role in the production, circulation, and maintenance of the information required for the function of capital on a global scale (“immaterial labor”), a revolutionary, anti-capitalist force of unprecedented potency. This conceptualization of Internet-era intellectual labor as a new basis for revolutionary agency is indeed the heart of Wark’s book.

     

    Wark lays out various proposals concerning his understanding of hacking as a form of class struggle in brief and rather oracular chapters with titles like “Revolt,” “Subject,” and “World.” The thrust of his argument is that cultural workers are becoming constituted as a class via the emergence of an objective conflict between their need for a free flow of information with which to do their work and the full-scale commodification of information following the establishment of the so-called new economy and a corresponding regime of restrictive intellectual property law. The form of politics proper to this new class, Wark maintains, consists of demands not for the redistribution of wealth or collective ownership of the means of production but rather for universal access to information as a means for conceiving and realizing new desires and new forms of life. Rather than working to reform or overthrow the state, he writes, this form of politics is radical to the extent that it “seeks to permeate existing states with a new state of existence . . . spread[ing] the seeds of an alternative practice of everyday life” (256). Wark calls this “expressive politics.”

     

    In terms of what he has to say about hackers as agents of class struggle, Wark is at his most persuasive when he suggests that one of the key struggles lying ahead for the productive classes of the underdeveloped world and their hacker allies is to combat not only the exploitation characteristic of neo-colonialism but also the ever-wider control exercised by finance capital and its institutional agents over the organization of nearly every feature of political and social life. The latter struggle, he makes clear, will require both the establishment of networks of resistance and a fundamental refashioning of modernity’s objects. Hackers can support both aims, Wark contends, through their knowledge and their collective inclination to wrest information from its “bondage” to the commodity form.

     

    This looks like sound, provocative analysis. But the point would have been more convincing had Wark acknowledged that there is already a massive activist network organized to do (at least in part) what he is describing: the anti-globalization movement (or as Naomi Klein refers to it, the “movement of many movements”). Because he evidently views anti-globalization activists as having come together in defense of local or national interests rather than in tune with the kind of free-ranging anarchist politics he favors, Wark objects to the anti-globalization movement and has no interest in exploring any of its immediate or long-term promises for social transformation. In fact, Wark goes much further than to take issue with some of the aims or strategies of the anti-globalization movement; indeed, he disparages the movement so roundly for its “representational” (in other words, primarily redistributive) politics that he appears to find no value in it whatsoever. Can it really be the case that Wark sees no potential for theorizing or developing a future left politics in the anti-globalization movement? In any event, one gets little specific sense from Wark’s text of how hackers’ technical knowledge and creative energies have been or could be mobilized in support of such a movement or any of its aims, though there is abundant evidence on the Internet that protests against the World Trade Organization (WTO) or the General Agreement on Trades and Tariffs (GATT) have been abetted by such efforts. Here is one of those instances where it would have been helpful for Wark to refer to actually existing cyberspace in his research.

     

    Ultimately, Wark most runs into trouble in his tendency to forego dialectical thinking in his account of the hackers’ historical role in relation to global capital. Looking back to another manifesto that twenty years ago proved key to creating an ethos of technologically engaged opposition to the prerogatives of capital, we can recognize that in her text on cyborg politics Donna Haraway was concerned to avoid segregating the kind of postmodern subjectivity she chose to identify with the term “cyborg” from what Wark would now call “the military entertainment complex”: “From one perspective, a cyborg world is about the final imposition of a grid of control on the planet” while from another “a cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints” (154). Indeed, what was most compelling and most radical in Haraway’s way of conceiving the cyborg was that she recognized that any politically progressive course that might be forged on the basis of or in conjunction with cyborg identity and agency would have to be taken in full cognizance of the historical and ongoing imbrication of information technology with the maintenance of what Deleuze called “societies of control.” The creation of the Internet by the U.S. Defense Department is perhaps the example par excellence of how this has worked in practice, though obviously the Internet has morphed into something tremendously different from what Arpanet, the prototype for a global, packet-switching information network established in the late 1960s, was designed to be.

     

    In his reading of hackers’ general political orientation, Wark does allow for the danger that they will confuse their interests with those of the vectoralist class, the owners of the means of information production. But to do only that is to do too little. A realistic account of the historical conjuncture would include the full (and not just passing) recognition, à la Haraway, that the work of hackers is in some measure responsible for what Wark now tasks them with dismantling: the widely pervasive social surveillance and military domination enabled by information technology. One should not rhapsodize over hackers’ capacity for creating the “new” without fully taking this problem into account.

     

    Though Mosco’s The Digital Sublime: Myth, Power, and Cyberspace moves forward from a different starting point, the two studies do seem at moments to converge (as when, for instance, Mosco speaks of hackers as trickster figures who work to reveal a “mythic utopia locked up by our stagnating tendencies to freeze revolutionary technologies in the ice of outdated social patterns” [48]). Otherwise, he focuses on narratives connected to postmodernism and the “technological sublime,” a notion he borrows from the historian David Nye to help him account both for the general tendency to glorify new technologies and for the various ways in which cyberspace has been subjected to hyperbole.

     

    Mosco’s readings of texts by people like Fukuyama, Negroponte, and Ohmae are illuminating. Mosco effectively shows how Fukuyama’s “end of history/ideology” thesis is applied in a boilerplate fashion to his explanation of the significance of the Internet, with the “digital divide” being swept aside as an ultimately immaterial impediment to the otherwise “frictionless” operation of free markets in the post-Cold War era. Negroponte is deservedly taken to task for his brand of digital boosterism, which, as Mosco explains, consists of pretending to treat info-tech innovation as something that is in little need of hype, while at the same time making overstated, technologically determinist claims for the absolute–and absolutely wonderful–transformation of life that is sure to arrive as a result of such innovation. Finally, Ohmae’s contention that we are in the process of achieving a “borderless world” is revealed as, at worst, manifestly distorted and, at best, true in only a very limited sense.

     

    Mosco does not, however, offer any counterexamples from actually existing cyberspace, examples that might have worked well to refute these writers’ untenable claims. In his response to Ohmae, for instance, Mosco might have mentioned the “virtual Confederacy” that Internet scholar Tara McPherson has addressed as a case of the importance of place to cybercultures. McPherson’s work on the expression of Southern white identity in the U.S. via the Internet suggests that rather than in every case bringing about “the end of geography,” participation in cybercultures can instead encourage participants to re-consolidate their affective and political attachments to geographic regions.

     

    The last quarter of Mosco’s book returns to political economy to examine the history of the World Trade Center site. The chapter posits the story of the WTC’s construction and destruction as both symbolic (or in his terms “mythical”) and decidedly material in its effects: symbolic in that the construction represented a foundational moment in the transition toward a service economy in the U.S. and the destruction a similarly loaded denouement to the dot-com era, and material in that both the erection and the collapse of the towers occasioned a largely undemocratic restructuring of the space of downtown Manhattan. Mosco turns to this historical narrative to demonstrate the pertinence of political economy–applied in this case to a critical investigation of infrastructure development in one especially significant “informational city”–to the study of cyberspace, while keeping in view the fact that the Internet is liable properly and comprehensively to be understood as a postmodern phenomenon of special significance only if one is also able to take account of the key symbolic economies accruing within and around it. Indeed, Mosco does bring certain features of actually existing cyberspace into his discussion at this point to demonstrate that the anti-democratic decision-making regarding the WTC can find a profitable analogy in the similarly iniquitous administration of the Internet Corporation for Assigned Names and Numbers (ICANN), an entity with no real accountability for its administrative role in Internet governance, and that the boondoggle of the new economy is in a certain sense akin to what was widely regarded as a monumental failure of architecture and urban planning.

     

    As suggestive as these notions are, I was somewhat disappointed to see that Mosco has very little to say, after bringing it up in a digression about branding as a feature of contemporary marketing, about the anti-globalization movement. It is clear that he quite accurately sees the movement as something like an “anti-(free) World Trade Center” and that he recognizes the importance of the Internet to the organization and conduct of the various elements in this movement. But he doesn’t take the opportunity to examine how anti-globalization activists have struggled to counter the very same myths about the Internet and globalization that he takes apart in the first part of his book. As with Wark’s take on hacker politics, Mosco’s book regrettably leaves aside consideration of the crucial cybercultural work taking shape within anti-globalization networks. Against this tendency, I would like to suggest that when dealing with the propagation of myths about the Internet, we should make certain not to forget one of the most important to have so far emerged: that “another world is possible.”

     

    Works Cited

     

    • Eagleton, Terry. “Office Politics.” The Nation. 25 October 2004: 40-42.
    • Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991. 149-81.
    • Hardt, Michael, and Antonio Negri. Empire. Cambridge: Harvard UP, 2000.
    • McPherson, Tara. “‘I’ll Take My Stand in Dixie-Net’: White Guys, the South and Cyberspace.” Race in Cyberspace. Eds. Beth Kolko, Lisa Nakamura and Gilbert Rodman. New York: Routledge, 2000. 117-32.
    • Mosco, Vincent. “Webs of Myth and Power: Connectivity and the New Computer Technopolis.” The World Wide Web and Contemporary Cultural Theory. Eds. Andrew Herman and Thomas Swiss. New York: Routledge, 2000. 37-60.
    • Slater, Don, and Daniel Miller. The Internet: An Ethnographic Approach. Oxford: Berg, 2000.
    • Wark, McKenzie. Virtual Geography: Living with Global Media Events. Bloomington: Indiana UP, 1994.

     

  • From the Proletariat to the Multitude: Multitude and Political Subjectivity

    Jason Read

    Philosophy Department
    Colby College
    jread@colby.edu

     

    Review of: Michael Hardt and Antonio Negri, Multitude: War and Democracy in the Age of Empire.New York: Penguin, 2004.
    Where Michael Hardt and Antonio Negri’s first book, Empire, defined an object of critique–the book’s title is also their name for the global order they seek to analyze–their follow-up, Multitude, attempts the more difficult project of identifying and describing the revolutionary subject. The difference between the two books is not rigid: the “multitude” makes its appearance in Empire, and Multitude continues to examine “Empire” and the new global powers in the age of “the war on terror.” Even so, while the first book addresses the hot topics of globalization and neo-liberalism and thus fits easily into ongoing conversations and debates, the second addresses a problem that is rarely posed: the problem of revolutionary subjectivity, of the powers and possibilities capable of changing the existing global order. This problem does not lend itself to the same debates and discussions. This difference could perhaps be used to explain the ways in which the two books have been received: while the first was a crossover hit, making it into the pages of The New York Times and Time, the second has not had nearly the same success. The handful of major publications that have addressed Multitude have dismissed it as a kind of sophomore slump. The New York Times even went so far as to enlist Frances Fukuyama, perhaps the individual most predisposed to disagree with Multitude, to declare that Hardt and Negri’s fifteen minutes of fame are officially over.

     

    Multitude is organized as a response to two questions: what remains of Empire (the concept) in the wake of the United States’ unilateral war against terror and in Iraq? And what subjective forces, desires, and identities are capable of combating Empire (the political formation)? The first of these questions is somewhat extrinsic to the organization of the text, reflecting transformations in the world that have taken place since the publication of the first volume; the second, however, is intrinsic to the text’s organization. The problem of revolutionary subjectivity is first announced in Empire as a kind of lacunae, as that which is difficult or even impossible to name or imagine in the present. While Marx could see continuity and even teleology underlying the revolutions of the nineteenth century, the various protests of the twentieth century–Tiananmen, Los Angeles, Chiapas, Seoul–appear to be discontinuous, without an identifiable subject or struggle to help us connect the dots (Empire 54). Marx compared the sporadic revolutions that marked the nineteenth century to the burrowing of a mole, whose discontinuous emergence from the dark earth is evidence of a hidden continuity and a concealed identity, the continuity of class struggle and the common identity of the proletariat. What is lacking in the present is any sense of that common substance or common vocabulary to connect the various struggles; they are left to stand out in their singularity, contingency, and heterogeneity.

     

    Hardt and Negri’s assertion that struggles have become incommunicable, that they cannot be seen as discrete expressions of a common process, subject, or identity, traverses a decades-old debate about the relationship between economic conditions and political struggles. What unifies different political struggles separated by place and time, for Marx, is the recognition of a common economic enemy, capitalism, and a common economic language, that of exploitation. The heterogeneity of political protests was counteracted and supported by the universality of economic conditions. The notion that the economy is a universal and necessary condition underlying and supporting the apparent contingency of political desires and subjectivities has come under assault from multiple directions in past decades, in the work of Hannah Arendt, Ernesto Laclau and Chantal Mouffe, and Jacques Rancière, among others. Common to these diverse views is the idea that Marx’s strategy of finding the common economic essence underlying the various appearances of politics amounts to a negation of the political in all its contingency, heterogeneity, and specificity. Politics, roughly to characterize these diverse views, is not the expression of some underlying economic essence or identity, but the staging, articulation, or constitution of identities. For Rancière, the most recent advocate of a reconsideration of the political, the salient relation is not between the economy and politics, but between the “police,” which divides society into its corresponding classes and groups, and “politics,” which challenges these divisions by giving voice to a group that does not fit within the existing classifications (Disagreement 30). To deny the difference between economic conditions and political constructions is to deny the very existence of the political, which is founded on the rigorously egalitarian fact of speech. Equality is not a goal to be realized through politics, but an ungraspable presupposition of politics, a presupposition that manifests itself whenever the “people”–“as the part of those that have no part”–speak (“Peuple ou Multitudes?” 95). Much of Rancière’s work can be understood as an exploration of the link that Aristotle posited between mankind as a “speaking” and “political” animal (Disagreement 1). Thus, for Rancière, the break between economic conditions and political identities is not a problem to be rectified, but a condition for the liberation of political philosophy, for the return of politics to thought and thought to politics. As Rancière argues, politics will no longer be subordinated to sociological “meta-politics,” which assigns a place to all subjects and more or less “polices” these identities, interpreting all speech according to the grid of class locations (vii). Thus politics is restored to its dignity when it becomes a site for the constitution of political subjectivity and not simply the site for the articulation of demands that are already constituted within the factories and workshops of the economy.

     

    Hardt and Negri’s writing traverses the same ground, the apparent separation of the economic from the political, but it does not come to the same conclusions. What Hardt and Negri share with such philosophers as Rancière is the question of how to conceive of or even imagine a political subject adequate to the task of acting in and transforming the current global situation. As Hardt and Negri’s analysis suggests, this problem comes to light in the wake of the “proletariat” which can no longer be assumed to be tunneling underground, waiting for the right conditions to emerge in all of its revolutionary splendor. However, while for some of these other thinkers the loss of the “proletariat” as a figure which traverses the gap between the particularity of social conditions and the universality of political goals signals a complete break in the project of linking social conditions to the constitution of political subjectivities, for Hardt and Negri it is an opportunity to reconsider this connection in light of the transformations of social conditions, of labor, and of production. The “multitude” emerges for Hardt and Negri as a new figure of political subjectivity defined not in opposition to economic conditions but through them: “Multitude,” write Hardt and Negri, “is a class concept” (103).

     

    If it is correct to say that the concept of the multitude is rooted in an economic analysis, it is even more accurate to say that it is rooted in an understanding of a fundamental transformation of the economy. As a political concept, the multitude depends on the other central concept of Hardt and Negri’s analysis, “immaterial labor.” As Hardt and Negri make clear, it was this connection, as it was initially developed in Empire, that opened the door to much criticism, specifically that their analysis pointed to a new elite: the text-messaging “bloggers,” hackers, and service workers who will lead the next revolution. For some critics of Empire, the concept of “immaterial labor” is situated at the impossible meeting point where nineteenth-century Marxist analysis of a vanguard class of workers intersects with the twentieth-century idea of a new information economy: an unholy alliance of V. I. Lenin and Robert Reich. What these critics, such as Timothy Brennan, saw in the idea of “immaterial labor” is the combination of a failed political strategy, locating a privileged class or sector of the economy that controlled the levers of production, and misguided empirical analysis, the idea of a radically new economy based on information that changed all of the rules (103). Multitude responds to this criticism by reframing the concept. “Immaterial labor” as a concept developed through the empirical, philosophical, and sociological studies of Maurizio Lazzarato, Paolo Virno, and Antonio Negri refers to the hegemony of intellectual or affective elements, information, communication, and desire in the production and circulation of commodities. Hardt and Negri clarify in Multitude that this “hegemony” is analogous to and even derived from Marx’s argument in Capital regarding the hegemony of industrial production, in which a small sector of the economy determines the form and the rate of production. Compared to agricultural or industrial production, immaterial labor remains a small sector of the economy in quantitative terms; at the same time, however, it intersects with all sectors of production. Commodities produced in pre-industrial technological conditions such as sweatshops are researched, developed, and marketed according to the techniques, habits, and images of affective and immaterial labor; similarly, the agricultural meets the immaterial as the genetic material from seeds is developed, copyrighted, etc. Immaterial labor is thus hegemonic in qualitative rather than quantitative terms (109). For Hardt and Negri the essential point is not simply that there are hegemonic relations between the different sectors of the economy–they are not, after all, looking for new areas of investment–but that the new transformation of labor entails a fundamental transformation of society and subjectivity.

     

    Forms of production become truly “hegemonic” when they constitute not only relations of control over other forms, but also general cultural sensibilities (115). The multitude as a political concept is perhaps best defined from the historical vantage point when immaterial labor constitutes a general transformation of society. While all forms of production create the world in their own image (in an age of industrial production the world is seen as a machine), what immaterial labor–or biopolitical production–produces are not only things but also the languages, habits, concepts, and desires of social existence. While material production creates the means of social life, the objects and spaces through which it is lived, immaterial production creates social life itself (149). This is what Hardt and Negri refer to as the “becoming common” of labor–labor produces the common, the shared content and context of life, while at the same time becoming common. A similar, but distinct point, regarding the connection of the multitude to the new forms of labor, is made by Paolo Virno, who argues that the generalization of habits, desires, and concepts destroys the “special places” of society, thought, and language, with their particular vocabularies, and replaces them with “common places” (36). For Virno this transformation entails both a breakdown of the division between public and private as a diffuse “non-public public sphere” replaces both and a transformation of the relation between the one and the many: in an age of exchanged and commodified culture, it becomes abundantly clear that the individual exists only as process of individuation within social processes.

     

    It is worth pointing out that the concept of the multitude traces its genealogy not only to a particular site of intellectual production, namely Italy, but also to a particular manner of producing and circulating concepts, in which the same concepts, “multitude,” “immaterial labor,” and “biopolitics,” are produced and developed by multiple authors without clear lines of ownership and inheritance. A thorough consideration of the concept of “multitude” would encompass not only the work of Negri, Hardt, and Virno but also the work of many others, a legacy which stretches from Spinoza and the revival of Spinoza criticism to work on the economy, politics, and ontology. There is thus some overlap of form and content in the development of the concept of the multitude, as that concept is produced and debated through exactly the technologies and subjectivities of immaterial labor that that concept is meant to make clear. To speak anecdotally, those I have met who are most passionate about the idea, who log the most hours in the various listservs where these concepts are discussed, are not academics, but the very immaterial laborers Hardt and Negri work to describe.

     

    In the works of Virno, Hardt, and Negri, the multitude as a new form of political subjectivity is based in part on an anthropology of the new structures of society and labor. The multitude is founded on an idea of a “common” substance that is expressed in multiple instances and is produced, or at least partly brought about by the transformations of labor and society: “In philosophical terms we can say that these are so many singular modes of bringing to life a common laboring substance: each mode has a singular essence and yet they all participate in a common substance” (125).

     

    Hardt and Negri are not content to limit the concept of the multitude to the workplace, however diffuse or disseminated across society the workplace may be. The multitude, if it is not simply to reproduce the Marxist-Leninist-Maoist tradition of locating the vanguard in different sectors of the economy, must be imagined as immanent to virtually all of society; that is to say, if the multitude is, as Hardt and Negri argue, a “class concept,” it is a concept that thoroughly reworks that which is understood by class. Hardt and Negri had already argued for an extended understanding of the concept of the proletariat in Empire:

     

    The fact that under the category of proletariat we understand all those exploited by and subject to capitalist domination should not indicate that the proletariat is a homogeneous or undifferentiated unit. It is indeed cut through in various directions by differences and stratifications. Some labor is waged, some is not; some labor is restricted to within the factory walls, some is dispersed across the unbounded social terrain; some labor is limited to eight hours a day and forty hours a week, some expands to fill the entire time of life; some labor is accorded a minimal value, some is exalted to the pinnacle of the capitalist economy. . . . Our point here is that all of these diverse forms of labor are in some way subject to capitalist discipline and capitalist relations of production. This fact of being within capital and sustaining capital is what defines the proletariat as a class. (Empire 53)

     

    It could be argued, however, that the concept of the proletariat has a built-in rigidity that makes it difficult for it to become a figure for a new subjectivity. In Multitude, Hardt and Negri develop the concept of the multitude through a discussion of two figures that have always been situated at the borders of any traditional concept of the proletariat: the peasantry and the poor. As Hardt and Negri remind us, Marx’s denunciation of the peasantry as failed contender for revolutionary subjectivity was based upon the physical isolation and dispersion of the (specifically French) peasantry: “In Marx’s view, political subjectivity requires of a class not only self-representation but first and most fundamentally internal communication” (123). As this separation breaks down, the peasant becomes both part of the international production and dissemination of a commodified food supply and subject to the various conditions of “immaterial labor”: the patenting of genetic codes, the modification of crops, etc. The peasant no longer stands outside the working class. A similar point could be made with respect to what is called “the industrial reserve army,” “the unemployed,” or “the poor.” With workers of all sorts precariously poised on the brink of unemployment or underemployment, and with many of those excluded from work proper producing the cultural forms and languages essential to capital, the division between who is inside or outside of capital falls apart. Production has become “biopolitical,” directly producing the conditions and fabric of existence itself, from the very nature of food to the habits and styles of existence. Thus, Hardt and Negri suggest it is perhaps no longer useful to argue in terms of identity and difference, or inside and outside; better to speak instead of singularity and communality: “We are a multiplicity of singular forms of life and at the same time share a common global existence. The anthropology of the multitude is an anthropology of singularity and commonality” (127).

     

    It is possible to chart some of the limitations of the concept on the terrain of its intellectual production. Many critics (especially in major periodicals that have recently moved Hardt and Negri from the “hot” to the “not” column) have seen this concept of the multitude as a utopian fantasy, out of touch with the real divisions of the world. While such claims of “utopianism” are as easy to make as they are empty, there is something to the charge that Hardt and Negri’s idea of the multitude fails to describe the divisions of the present. Not the old divisions of working class, proletariat, poor, and household production–Hardt and Negri have made it clear that these divisions fail to capture both the commonality and singularity of contemporary production–but divisions within the anthropological condition of the multitude. Which is not to say that Hardt and Negri entirely neglect a consideration of the hierarchies, ideologies, and strategies that submerge the commonality and singularity of the multitude in a tide of conflicts and identities. As Hardt and Negri stress, the multitude is to some extent virtual; it is a series of material possibilities more than an empirically existing class. The question is not “What is the Multitude?” but “What can the Multitude become?” (105). Moreover, they demonstrate how empire constitutes new hierarchies, divisions, and exclusions, what Hardt and Negri call hierarchies of inclusion, which no longer divide between nations or zones but run above and beyond such boundaries; these are hierarchies that create internal “third worlds” within the major global metropolises (166). What Hardt and Negri do not consider, or do not consider enough, is how the very forms of labor and commonality that constitute the multitude, also constitute divisions within the multitude. The internal exclusion that Hardt and Negri write of means that all populations are included within the same market, which constitutes the basic conditions of existence, without at the same time being useful to it–that is, exploitable by it. Massive populations, whole continents, are deemed superfluous and are left to die. As Étienne Balibar has argued, “at the moment at which humankind becomes economically and, to some extent, culturally ‘united,’ it is violently divided ‘biopolitically’” (130). What Hardt and Negri do not consider is thus the extent to which the very conditions that define the multitude, the formations of labor, communication, and social relations, may be themselves complicated by the socioeconomic divisions of the world. Moreover, these conditions, the “commons” of language and desire, may in turn deepen the divisions of the world, to the point where the divisions are anthropological as much as they are economic or cultural. The anthropological condition of the multitude continuously threatens to divide the world into a multitude and something like a sub-multitude whose simultaneous exclusion from the common languages, desires, and labors of immaterial labor and inclusion in the market as a condition of survival might constitute an exclusion from the very conditions of political subjectivity altogether. This paradoxical situation could be described as an inclusion in Empire but an exclusion from the multitude.

     

    These final remarks are not meant as a dismissal of the concept. The multitude as a concept is a powerful figure of analysis, imagination, and desire; however, it must become a condition for understanding not only the possibilities of the future, but also the dangers of the present.

     

    Works Cited

     

    • Balibar, Étienne. “Violence, Ideality, and Cruelty.” Politics and the Other Scene. Trans. James Swenson. New York: Verso, 2002. 129-146.
    • Brennan, Timothy. “The Italian Ideology.” Debating Empire. Ed. Gopal Balakrishnan. New York: Verso, 2003. 337-367.
    • Hardt, Michael, and Antonio Negri. Empire. Cambridge: Harvard UP, 2000.
    • Rancière, Jacques. Disagreement: Politics and Philosophy. Trans. Julie Rose. Minneapolis: U Minnesota P, 1999.
    • —. “Peuple ou multitudes? Question d’Éric Alliez à Jacques Rancière.” Multitudes. 9 June 2002. 95-101.
    • Virno, Paolo. A Grammar of the Multitude: For an Analysis of Contemporary Forms of Life., Trans. Isabella Bertoletti et al. New York: Semiotexte, 2004.

     

  • Maximal Minimalism

    Charles Altieri

    Department of English
    University of California, Berkeley
    altieri@uclink4.berkeley.edu

    and

    Rei Terada
    Departments of English and Comparative Literature
    University of California, Irvine
    terada@uci.edu

     

    Review of: Robert Smithson. Museum of Contemporary Art, Los Angeles. 12 Sep.-13 Dec. 2005.

     

    We saw this show together. We saw it differently. We enjoyed those differences and wanted to convey that pleasure. Below we mention Smithson’s Four-Sided Vortex, which gives the viewer the ability to see one’s companions in a mirror instead of oneself, for a moment. Here are some glimpses of our experience.

     


     

    Boy Genius

     

    MOCA’s approach to the problem of exhibiting Robert Smithson de-emphasizes writings, plans, and reproductions of large-scale works (although these are represented, selectively) in favor of Smithson’s paintings and drawings, a few films, and several elegant and quietly assertive sculptures. Through this relatively intimate Smithson–a living room and backyard kind of Smithson–the viewer remembers and catches glimpses of the colossal earthworks. The effect is to imply a continuity between the kind of interest we have as children in the rocks and old lumber that collect at the side of one’s house and the architect’s ambition to reshape the landscape, or between junior high school notebook fantasies and Smithson’s brainy, eclectic sketches for projects (for example, his Proposal for a Monument in Antarctica [1966]). In the showily juvenile male fantasies of the barely post-adolescent Smithson, airplane parts and erect nipples are motifs of competing interest; the famous Smithson too was never more than a very young man, his language full of ostentatious allusion, deadpan humor, and other tropes of precocity. The question is not so much how Smithson’s smart-aleck rhetoric becomes something more as how he manages to convey the nascent challenge in adolescent intellectualism when it starts asking questions of the physical world.

     


     

    Beginnings

     

    Robert Smithson seems an enticing anomaly. In an age where the reigning interest is political, Smithson still gets treated as he would want to see himself–that is, through the lens of powers attributed to genius or, as he puts it, as above all a “generative artist” (88), creating context more than responding to specific cultural forces. Thus MOCA’s show brings into focus Smithson’s capacity to reinvent himself in order to make art objects so visibly and entertainingly the realization of a thinking that could have no other satisfying outlet. Make no mistake: Smithson was so deeply engaged in the cultural life of his time that he could become perhaps his age’s most powerful critic of the then-dominant formalist modernism. But he could manage that role because his fealties lay not with the human or social orders so much as with an imaginative site produced by the mind’s dialogue with geologic time and crystallographic space. Comparisons to Leonardo are not uncommon, and not unjustified in relation to Smithson’s constant inventive activity, as well as in relation to how that activity seems to warrant a position apart from the culture wars.Born in 1938, Smithson worked at first (after high school and the army) primarily in drawing and in painting. His brushwork and palette in works like Eye of Blood (1960), From the Valley of the Suicides (1962), and various renderings of the passion of Christ make me think of Philip Guston on speed. There is everywhere the intense painterly activity unwilling to settle for representation, but like Guston, Smithson insists on providing an image as the provocative source of that activity. But this Guston-on-speed also manifests a Blakean spirit of linear excess, here adapted to what would become the cross between the psychedelic and the comic book sensibilities common in the art of the mid-seventies. In one respect Smithson’s painting is the work of the classic repressed nerd (fifteen years before the emergence of that figure for genius), albeit one talented nerd. I love the tension between human and organic forms in the painting and drawings responding to Dante’s valley of the suicides: clearly suicide is no solution, since the soul’s discomfort only carries over into other forms of alienated material existence. The Christ paintings are remarkable for their evocation of a manifestly staged pathos that elicits what can only be called “vulnerability on a divine scale.” Even Christ, or especially Christ, finds it impossible to inhabit an expressive body and must resign himself to metonymies like hands and feet. When the entire body emerges in Jesus Mocked (1961), it seems so aware of its impotence relative to what it might want to signify that it is ready for the tomb.

     


     

    Thought as Non-Site

     

    Like Warhol, whose early works include little portraits of people covered in gold leaf, miniature versions of his paralyzed icons of fame, Smithson explores anxiety about and attraction to reification as the other side of familiarity with inanimate nature. By this logic he moves from comic-like representations of cultural stereotypes to paintings based on Dante and Blake–allegories of imprisoned persons whose fantasies of escape into mind produce only a more rigid version of the body, or “emanations” that seek to represent something that is neither body nor mind, but wind up seeming less than both. Meanwhile, on the separate track of the sketches for sculptures and architecture, Smithson’s persona unfurls, like an emanation itself, in the handwritten annotations that populate these pages. The notes seem to immerse the sketches in a mental non-space of arcana and asides. Like the voiceover Smithson uses in a film or two, these jottings have a thin, haphazard relation to the shapes on the page, but present the artist’s thinking self as an ironic, disembodied interlocutor.

     


     

    The Unrepresentable and the Presentable

     

    I think of Cézanne as the presiding model of visual genius here. Cézanne had similar beginnings. He did not know Blake or prefigure the alienations of psychedelic culture, but his early work shares with Smithson’s the sense that the only good image is an image so distorted by the painter’s energies that these energies have to seem utterly overdetermined in relation to what they are trying to represent. The representable is haunted by the unrepresentable, with the painter’s affective identity established by the effort to locate the sense of difference between the two as an effect of the ego.Then both artists eventually sublate the energies that undo representation into the will to form enabling the precision of gestures toward representation. (I am counting the Nonsites as bizarre representations by representative materials.) Both realize that identifying the individual subject only with the production of excess with energies possible for the eye is less a result than a cause of alienation. Ultimately the work of genius is not to express the self’s anxieties but to find sites where anxiety seems trivial in comparison to the mind’s capacities for intricate impersonal appreciation of where it can find itself situated. One does not have to look very hard at Smithson’s Eye of Blood to see how it could be transformed into a stone spiral jetty in a red sea, in a world where the return of energy to the subject is a sign of insufficient awareness of the contemporary person’s limited place in the world.

     


     

    Blind Spots and Rabbit Holes

     

    At least two kinds of Smithson’s mirror works are represented at MOCA: wall-mounted or floor-standing arrangements of brightly painted metal with reflecting panes, and heaps of rocks and minerals bisected by glass. The first group are funhouse-like pieces with pop/op touches. Smithson frames blind spots as though once you knew where one was, you could handily store things in it. Thus the sculptures model and parody psychic interiors. Untitled painted metal and glass polyhedrons (1964-65), like large split and mounted beveled stones, make the floor hover over one’s head and parts of the room at middle height disappear. A reconstruction of Smithson’s Enantiomorphic Chambers–a series of metal and glass frames resembling a row of partly opened residential windows–evokes infinite regress when you try to look through all the frames from one end. The floor-standing sculptures look more unassuming and are more deceptive. Four-Sided Vortex (1965), a mirror-lined steel rectangle about three feet high, is a kind of negative wishing well: looking in, you can stand in such a way as not to see yourself, only the person beside you. A similar untitled piece from 1965 looks like the kind of green plastic wastebasket you might come across in a city park, but drops the eye into a kaleidoscopic netherworld.

     


     

    Minimalism Maximized

     

    Smithson put himself on a path to this capacious perspective by turning from painting to collage, then to wall structures that drew their inspiration from crystallography, then to a geological perspective that could contextualize why the crystalline might prove so fertile a source of fascination. To grapple with the content promised by these different angles of vision, Smithson turned from expressivist traditions to the minimalism that had recently become fashionable. But he could accept neither the cult of all-at-once apprehension that attracted Donald Judd and Frank Stella nor the pure play on conditions of response that characterized work like Robert Morris’s circles. Technically his work in floor sculpture would be characterized not by minimalist seriality but by progression in various dimensions (22). And, more important, that work would not settle as either a distinctive, immediately graspable object or an event manifesting some aspect of the phenomenology of seeing. Rather, object and event would enter dizzying interactions allowing both object properties and event properties to dangle intricate metaphoric possibilities leading beyond the material object but not beyond theater (in the sense of the term popularized by Michael Fried). In Smithson’s later work, all the event properties that include the viewer’s perspective return us to aspects of his materials while opening them up to the play of mind. Even his simplest structures, like Pointless Vanishing Point (1967) and Leaning Strata (1968), make manifest forces that enter perception while focusing one’s attention on astonishingly elegant objects that one has to let unfold and linger before the mind’s eye.My general claims about Smithson’s relation to minimalism will be difficult to demonstrate in this limited space. I hope it suffices to say that a good part of the breakthrough stems from his appreciating the capacities of mirrors to provide both distinctive substance and irreducible metaphors of reflection and mobility. By making the mirrors part of floor sculptures, Smithson can extend the sense of enantiomorphic structure into complex interactive fields. As one walks around the sculptural object, the mirrors simultaneously stabilize the assemblies of rock by making them dynamically occupy space and destablize those assemblies by playing on what is substance, what shadow, and what illusion. For example, in Chalk Mirror Displacement (1969) (see Figure 1), eight long but low rectangular mirrors radiate out from a center, dividing the work into an open octagon. Because the space is filled with crumbled mineral chalk of various sizes, one is tempted to think of this piece as a large pill box for minerals. But the minerals will not rest in their container. We are constantly stopped as we move around because the glass seems both transparent and reflecting. So the pile of chalk seems both continuous and discontinuous: at times the chalk appears as fluid as water, even as we see the edges and shadows that mark discrete objects. Yet these discrete objects also enter into various mirroring relations, so what is substantial merges with what is reflected. And the chalk comes to seem endlessly alive, proliferating textural qualities and rewarding the sense that as one moves one is productively bound to sheer contingency. How one sees and how one thinks depends here entirely on where one stands.

     

    Figure 1: Chalk Mirror Displacement (1969)
    Estate of Robert Smithson
    Courtesy of James Cohan Gallery, New York
    © Estate of Robert Smithson/Licensed by VAGA, New York

     


    Lyric Sheets

     

    Smithson’s mirror-divided piles of rocks and minerals are the really lyrical pieces in the exhibition. The mirrors lie on the floor with the minerals on top of them (as in his Nonsite from 1969), line a corner so as to seem to round out an actually interrupted cone (as in Mirror with Crushed Shells [Sanibel Island] [1969]–see Figure 2), or bisect minerals sloped into symmetrical heaps so that as the viewer looks at any segment of the pile, the reflection of the segment seems to join it to the whole, even though our actual view of the whole is occluded by the slicing glass. In each case the reflections act as supplements so nearly perfect that we continually overlook what’s missing and what’s been quietly replaced. This is “aesthetic ideology” so smooth that you can barely feel its sublimated violence. The piles of stones themselves imply human contact, since they’re beautified by sorting. Loose aggregations rather than objects, they are not integral enough in the first place to be broken by the more explicitly human interruptions of the dividing glass sheets. As a result there is something simultaneously sacrificial and nonviolent about these pieces. The glass planks that section them are as simple and surgical as the monolith in Kubrick’s 2001, yet painless, as though phantom limbs really restored amputations and any cut were also a repair.

     

    Figure 2: Mirror with Crushed Shells [Sanibel Island] (1969)
    Estate of Robert Smithson
    Courtesy James Cohan Gallery, New York
    © Estate of Robert Smithson/Licensed by VAGA, New York

     


     

    Nonsites and the Play of Difference

     

    In Rocks and Mirror Square II (1969/1971) (see Figure 3), Smithson turns the dividing panes of mirror into a rectangular container and rocks take the place of the chalk, now located both within the mirror and outside as a border. Here relations between what is inside and what is outside seem as unstable as the dizzying interactions between substance and reflection and between determinateness of structure and the flow of constant visual eventfulness. Because we are invited to move around, we cannot help thinking that the psyche is caught within this same play of inner and outer, self-reflection and escape from self into elegant sheer materiality. At the same time, the rocks convey an aura of immense power to resist inwardness because they retain their obdurateness even as they seduce us with texture and intricate play among edges and shadows. Ultimately it seems impossible not to feel at once deeply grounded in geological time and as inconstant as passing reflections. And both worlds of flux and permanence seem to mock our merely human interests. One might say that Smithson’s genius was most evident in his realizing in practical terms how almost a century of abstraction in art might produce this turn from the anthropomorphic in life.

     

    Figure 3: Rocks and Mirror Square II (1969/1971)
    Image used by permission of the National Gallery of Australia
    Art © Estate of Robert Smithson/Licensed by VAGA, New York, NY

     

    I am going to have to pass over Smithson’s many intriguing sketches and diagrams, the remarkably inventive photo sequences that place mirror surfaces in various landscapes, and Smithson’s fascination with what might be called marginal architectural forms that begins with his work on the Dallas Airport. But I have to at least mention my favorite Nonsite, Mono Lake Nonsite [1968] (see Figure 4). This combination of wall and floor objects offers an apparent wall map of the lake with most of its surface covered by a plain white painted rectangle. Then the floor piece provides one rectangle nested within another, the larger one matching in size the white painted area. The rectangles present the stuff that the map refers to but which cannot be represented by the map–the outer rectangle containing rocks and the inner one sand. Likewise, I must remark on two films, the justly famous thirty-two-minute film of the building of Spiral Jettyand a film of Smithson describing a suite of architectural photographs he made at the Hotel Palenque in which his speaking tone proves as intricate as the relation between inside and outside in his work with mirrors.

     

    Figure 4: Mono Lake Nonsite (1968)
    Robert Smithson
    Image used by permission of the Museum of Contemporary Art, San Diego

     


    Minimalist Architecture

     

    The domestic cousins of Smithson’s negative places–unrealized plans, blind spots, margins, minds–are airports, outbuildings and hotels, the between- and afterthoughts of supposed destinations. The exhibition gives us Smithson’s recorded comments over a slideshow of photos he took at the Hotel Palenque, a dilapidated Yucatan inn of no more vernacular fascination than any neighborhood dive, where you might imagine someone like William Burroughs staging a literary decline. In a laconic vein somewhere between Cage and Godard, Smithson praises or pretends to praise to an amused university audience the idiosyncrasy that accumulates there or anywhere. A set of double doors painted green, turtles in the turtle pond, “interesting” rubble–minimalism’s respect for the indestructibility of curiosity, or irony about that respect?

     


     

    Memorials

     

    The otherwise admirable catalogue does not pay much attention to questions of tone, or, for that matter, to the expressive detail of his work. It is too busy trying to figure out what Smithson might be thinking–perhaps one of the pitfalls of being taken as a genius. The most useful of the essays for me were Eugenie Tsai’s summary of Smithson’s career, a wide-ranging interview focused on his dislike of Duchamp, and particular treatments of his relation to Christianity, of his idea of the enantiomorph, of his work in the Yucatan with mirrors, and of his legacy in the form of “post-studio art.”

     


     

    Futures

     

    In the brief film Swamp (1969), Smithson urges his collaborator, Nancy Holt, to walk with her movie camera into a marsh thick with rushes and reeds higher than her head. Smithson directs her to go left or right or turn around and walk further, seemingly randomly, in this landscape without reference points. Anxious almost immediately, Holt keeps saying, “I can’t see anything!” Smithson tells her it’s OK, she should just keep walking, straight ahead as much as possible. It’s a surprisingly tense encounter, the little contest between her body and the rushes that give way easily underfoot, but never give onto anything else. She never becomes less anxious and never learns anything about where she is. In the middle of a discussion about how much film is left (Smithson thinks there should be more), the film runs out. We might read Swamp as a mini-emblem of the antiheroism of Smithson’s contacts with the nonhuman, contacts that record resistance to the latent inanimacy of the living body without making too much or too little out of it.

     


     

    Robert Smithson closed at the Museum of Contemporary Art, Los Angeles on December 13. The show travels to The Dallas Museum of Art and the Whitney Museum of American Art. The catalogue for this exhibit is Robert Smithson, ed. Eugenie Tsai (Berkeley and Los Angeles: U of California P, 2004).

     

  • Enduring Proximity: The Figure of the Neighbor in Suburban America

    Dana Cuff

    Department of Architecture and Urban Design
    University of California, Los Angeles
    dcuff@ucla.edu

     

    “For it is a simple matter to love one’s neighbor when he is distant, but it is a different matter in proximity.”

    –Jacques-Alain Miller (79-80)

     

    Figure 1: Spite Fence
    Eadweard Muybridge, San Francisco (1878)[1]
    Image used by permission of Kingston Museum and Heritage Service.

    Introduction

     

    The figure of the neighbor in contemporary culture is both spatial and social: neighbors begin as strangers necessarily inhabiting proximate space. When that closeness is intense in duration, distance, and circumstance, it gives rise to potent, if not perverse, reactions. An estate owner’s three-story fence that imprisons and intimidates his neighbor (see Figure 1) is surely spiteful, but neighbors can be far crueler, as we know from the history of the battle to integrate U.S. neighborhood schools since the mid-twentieth century, or even the genocide waged against proximate others in Germany or Rwanda. Intensified by proximity, the presence of difference–inescapable otherness–may press cultural norms past tolerable boundaries.

     

    Of course, neighbors are not usually spiteful. The notion of neighborliness often connotes the benign, minor kindnesses bestowed among co-residents that punctuate a steady state of general disregard. But when irritations arise, they can mushroom into disputes that do not seem warranted on the surface. Neighbors wage battles with and against neighbors to defend unpretentious terrains that would appear insignificant. So perhaps neighborliness should be construed as a set of concerted practices by individuals in a relationship somewhere between friendship and enmity. The rhetoric of the neighbor condones interaction without intimacy or intensity; we especially resist vehement interchange for fear of antagonizing those among whom we must live. It is this repressed desire for something more or less than neighborliness that erupts in bizarre local disputes, often directed just outside the neighborhood.

     

    The main reason neighbor relations are charged is sheer proximity. Unlike other social relations, including friendship, enmity, love, and even familial relation, space is inherent to neighborship. Unlike the “neighbor” at the office or the one seated beside us at a concert, residential neighbors live their daily lives near one another over extended periods of time. This remains true even in an era of increasing household mobility. Further, residential neighbors are in a significant and often causal relation. Their actions impinge upon one another, and at some levels, are mutually dependent: neighbors affect each other’s property values and make their street a safer or more dangerous place. We may like, dislike, or hate our neighbors, but we are locked in relation with them to some degree.

     

    In this essay I scrutinize the figure of the neighbor through the architecture and planning of the American residential landscape. Neighbor architecture–that is, the forms of neighborhoods and all that goes into shaping them–has received little consideration in the study of architecture, as has the construct of the neighbor itself. Psychic and cultural negotiations concerning the latter are made visible to some extent in critical discussions of literal negotiations over neighborhoods; when neighbors debate a proposed affordable housing complex, for example, their arguments about traffic, parking, and density are understood to reflect fears of difference. But there has been little critical reflection on established physical forms for neighborhood, in contrast to architectural styles for individual buildings or urban planning strategies for larger regions. The open-endedness of possible neighbor architectures, I suggest, produces a new way of looking at residential architecture itself.

     

    Just as neighbor relations are unlike other intersubjective relationships, neighborhoods are unique physical environments. Unlike districts, towns, or regions, neighborhoods embody a social relation linked to specific land use. A neighborhood is comprised of people living in close proximity in significant relationships, yet they are usually there by default. Further, the figure of the neighbor involves not only the space between strangers, but the relation of the house as a non-human object to its human occupants and the relationship between interiority and exteriority modeled therein. Bachelard writes in The Poetics of Space that “it is not enough to consider the house as an ‘object’ on which we can make our judgments and daydreams react. . . . the phenomenologist makes the effort needed to seize upon the germ of the essential, sure, immediate well-being it encloses” (3-4). Bachelard’s idealized imagery places the experience and memory of the self inside the house, from cellar to attic. The interiority of the individual and the house in turn both reside within an exterior public presentation. The house is figured not as an inanimate solid object, like a rock, but like the well-worn boots in Van Gogh’s painting, read so eloquently by Jameson. The house is a receptacle for humanness and a record of its existence. But the same can be said for the neighborhood as a whole, which has its own interiority. The figure of the neighbor reverberates in my reading of myself and of my neighbor in his house and in our neighborhood.

     

    What happens in the neighborhood when the villager’s workboots give way to Warhol’s “Diamond Dust” stilettos; when the generational family home yields to mass-produced Levittown? The “flatness or depthlessness” and “new kind of superficiality” that Jameson attributes to postmodernism is indeed present in an endless string of similar commodified houses. The postwar suburb homogenizes a group of strangers through exterior repetition and erodes presumptions of interiority. Yet the repetitive plans of mass-produced houses also attempt to provide some reassurance as to the identity of the inhabitants. Behind the front door, inside the picture window, is a place known to each neighbor as her own. In the mass-produced house we can imagine both our own uniqueness and our neighbor’s familiarity. Decorating the same basic shell furnishes each household with a limited degree of individuality. But in the mass-produced house, the neighbor’s interiority is not fully explored; it remains both real to and somewhat distant from us. The postwar suburb corresponds to the territory between workboots and high heels, between the fully situated biographical individual and the interchangeable, depthless stranger. The mass-produced box house reproduces an arm’s length familiarity among neighbors.

     

    The Neighbor as Political Figure

     

    “Propinquity–neighborliness–is the ground and problem of democracy.”

     

    –Michael Sorkin (4)

     

    The figure of the neighbor as I am defining it here is an up-close construction of human otherness. Thus neighbor relations are proto-political, growing from imposed, inescapable, and open-ended confrontation between self and other. Sociality located beyond the household and before the city forms a grain of sand around which participatory democracy or civil society can begin to take shape. And if the neighbor can be associated with the political conceptually, it is also incumbent upon us to reckon with the concept empirically: neighborhoods are among the most forceful political entities in the U.S. today.

     

    The potency of neighborhood politics has led some observers to conclude that the future of national politics is not to be found in the bleak “vanishing voter” syndrome, but in community associations. The energy that propels neighborhood activism is indeed an abundant resource: the proximate differences encountered by residents can become the substrate of collective practices, from processes for deciding how deviance on the neighborhood street will be handled to more formal local planning decisions. According to this optimistic view of community associations, civil society begins in the neighborhood; neighbors trying to stop gang activity in a nearby alley may then try to keep their library open via a citywide tax referendum. A civics founded on such actions would by definition encompass opposing views, which would have their own legitimate forums (city council hearings, neighborhood watch meetings). Neighborhood civics has its shadow side, however, in not-in-my-backyard activism that shunts unwanted and uncertain change somewhere else. Local interests exceeding the scope and scale of individual households are often defined through the us-versus-them distinctions inherent to gated developments. Over half of all new urban housing now takes the form of “private communities” in which all the terrain is locally owned–streets, parks, parking, everything.2 Like Charles Eames’s film Powers of Ten, which figures exponential growth through the camera’s dramatic leaps back from the object, private communities step away from the household to construct the next degree of otherness outside the neighborhood gates.

     

    There is a paradox here: cohesive community politics also seem to weaken the ethics of neighborhood. At present the notion of community conjures a romantic, if not naïve, utopianism even as local planning boards are inundated with citizens protesting even the most minor local transformations. There are relatively few established cultural norms for neighbor relations and set patterns of interaction in neighborhoods (as opposed to the workplace or the family), yet such norms are beginning to take shape in the U.S. The American neighborhood is casting its political form through its physical environment and through battles over it.

     

    Sub-urbanism

     

    In his introduction to an edited collection subtitled The Politics of Propinquity, Michael Sorkin argues that free civil society is located in the city because of its intensity and its spaces of circulation and exchange. This repeats the argument famously made by Jane Jacobs some forty years earlier, with a slight but significant shift in emphasis. Sorkin decries the would-be universalism of the public sphere, advocating instead friction, multiplicity, and difference. In a way, he is advocating the recognition of the shadow figure of the neighbor–the realistic, frictive neighbor–as essential to the political function of the public sphere. Both Jacobs and Sorkin advocate dense urbanism, however. It would seem that they crave the vital intensity of the city. While it is true that, historically, urban settings have indeed generated strong communities, it remains a limitation that neither Jacobs nor Sorkin cares to imagine the suburban space of the neighbor and hence of contemporary political action.3 Although I, too, would argue that the next generation of neighborhoods will reside not beyond but within the city, I want to understand more clearly the recent evolution of the U.S. suburban landscape.

     

    The architecture and planning of postwar suburbs–seemingly a self-contradiction–in fact design a narrative of sociality for middle-class America. The suburb makers marketed themselves as “community builders,” a role that deflected attention from their actual prioritizing of interiorized households closely if weakly linked to others nearby.4 These developers built groups of houses that paid little heed to the prospect of neighboring; instead they focused on the individual dwelling taken as an independent entity. Their capitalist realism, operating for the convenience of the supplier, quickly became the currency of the consumer as well (see Schudson and Kelly).

     

    The assumptions built into the pattern of that currency are astonishingly simple. Among suburban households, the street serves as the primary collective icon. Efficient infrastructural organization gives access to equal-sized land parcels, yielding blocks of private houses facing one another and thus sparking obsessions with traffic and parking. The cul-de-sac, a distinct and popular form for the suburban street, implies a closed, small web of neighbors. As we jump down in scale from the relations between a collection of households to the relationship between adjacent abodes, we encounter an implicitly neglected neighbor inscribed in the ambivalent side-yard setbacks that separate one house from another, and a more self-conscious neighbor in the picture window through which, in glimpses, the other is revealed. The self is not only contained by the house but shielded by it from the proximate other.5 The thin skin of the suburban house both confronts and defends against the figure of the neighbor, at the same time that it exposes a limited view of its own occupants. This dynamic is inadequately conceptualized by the binarism of publicity and privacy. The space just outside the suburban house is distinct from the public sphere (think Times Square or Santa Monica beach). Likewise, the space within the suburban house is unprivate in numerous ways: the unvarying reproduction of its interior plan, the windows puncturing the façade, and the public function of the living room, to name a few. Exteriority associated with publicity provides resident strangers with group identity, while interiority engages an intimate, regulating privacy. Thus domestic architecture’s delicate task is to filter intimacy with strangers. Inevitably, that close-up intimacy forms intense relations of contact and avoidance, as when neighbors become complicit in overheard domestic violence or become enemies over a dispute about the fence separating them.

     

    If Arendt is right that the public sphere demands visibility, that reality requires our shared perception of a visible world, then the neighborhood is a kind of hyperreality in which enduring proximity can push us to share too much, so that we want to shield our eyes or plug our ears. The right and duty to the phenomenal world that Kant urges upon individuals is, by Arendt’s logic, deflected in the case of the neighborhood from the individual’s relation to nonhuman phenomenality to the realm of intersubjectivity.6 A sure discomfort invoked by this shift sets at least some of the deeper terms tacitly guiding suburban development. The constant distance separating one house from another or the street from the house, for example, not only overtly addresses fire safety regulations but implicitly serves as a buffer against unwanted intimacy.

    American Figures

     

    How did the figure of the neighbor implied by suburban housing evolve in the postwar era? I suggest that while there was one primary model of postwar suburbia–the collection of isolated houses exemplified by Levittown–a secondary model existed beside it: the modern neighborhood exemplified by the Mar Vista Tract in Los Angeles, designed by architect Gregory Ain. Of these two models, only Levittown has been reproduced, sometimes in easy replication, in other cases in perverse mutation. My comparison between Levittown and Mar Vista will be followed by two examples in which designers explicitly sought to have impact on the articulation of neighbor relations. Each case ultimately harks back to Levittown–to an extreme at Sagaponac on Long Island, New York, and as its figurative mythical twin at Celebration, Florida.7

     

    Baseline

     

    The ur-suburb Levittown sets the benchmark against which subsequent experiments in mass-produced, middle-class housing have been measured. It is generally argued that Levittown reflected the “American dream,” not just of home ownership but of domestic life itself, yet it is more accurate to state instead that it constructed that dream. This sleight of hand persists in representations of suburban sprawl as the inevitable result of popular desire. If we examine but one angle of that phenomenon–the way a suburban neighbor is variably figured–we will also see how a taste for the suburbs was formed and how local politics evolved there.

     

    In the late 1930s and early 1940s, American architects, planners, and politicians projected a forward-looking society that would emerge after the war, living in houses in neighborhoods that likewise abandoned the past. Creative fantasies were primarily limited to the individual house, individual investment, to the self and the privacy especially coveted during the Depression and World War II, when deprivation, working, housing, and fighting were insistently, if not oppressively, collectivized. Architecture magazines conjectured numerous private homes of the future, but ultimately these differed little from the cost-efficient houses merchant builders dropped on subdivided farmland to accommodate veterans returning from the war.

     

    At Levittown, thousands of identical, four-room “Cape Cods” were built to standards laid down by numerous local and federal agencies (see Figure 2).8 These houses matched their prospective occupants’ most urgent need: to escape overcrowded shared apartments. Rather than fulfilling residents’ deep desires (as presumed by the rationale that popular taste guided suburban development), these houses met the needs of the builders. In Levitt and Sons’s efficient house plan, not a single square foot is without explicit assigned function, as would be the case in an entry hall or even corridor (see Figure 3). The only ambiguous space is a stairway leading up to the unfinished attic, projecting a future in the oneiric sense and in terms of real estate speculation. Possibility soon depended on a do-it-yourself way of life. To help homeowners realize that possibility, local publications offered advice about how best to expand, decorate, and remodel–that is, to individuate ever-so-slightly over 17,000 homes that came in just two basic models.

     

    Figure 2: Levittown Aerial View, ca. 1957.

     

    Figure 3: Levittown Floor Plan.

     

    In John O’Hagan’s 1997 documentary film Wonderland, early residents–each portrayed as an everyman of Levittown–describe Levittown’s Blue Velvet side. Apocryphal stories, often repeated, feature self-similar houses that looked so much alike that husbands went home to the wrong wives. A woman recounts her experience of being haunted by a ghost whose greatest audacities are removing the lining from her jacket and nicking a corner of her coffee table. The interiority of the neighbor is figured to be as bland as the public appearance of the house on the street with which one was already familiar. Private interiors, it turns out, are imagined to be as knowable as the Bendix washer or TV built into every residence.[9] At the same time, the reassuring, banal minimalism of Levittown is cast as a mask of superficial sameness that veils an underbelly where wife-swapping, racism, alcoholism, eager consumerism, and general malaise were housed alongside the mythos of the model American family.

     

    The figure of the neighbor in the original Levittown exists mainly in absentia. The interstitial space between houses is ambiguous at best, front yards are deep and relatively uninhabited, porches are non-existent (see Figure 4). Except in the last Ranch model home built in 1949, the small puncture in the façade was hardly large enough to be called a picture window, and served as the only frontal link between inside and out, mediating family and neighborhood.[10] This is not to say that Levitt and Sons and the Federal Housing Administration had no conception of the neighbor. The influx of so many residents just home from war, starting families and struggling financially, made the Levitts fear their development would deteriorate into a new kind of slum unless they instituted measures of control. A variety of means were used to define the neighbor through authoritarian control, pressure to conform, and the insistence on privacy through absence of physical expression. The Levitts insisted, for example, that lawns be mowed; when they were not, a crew performed the task and billed it to the resident. Later a homeowners’ “community appearance committee” continued the practice. The Levitts also ruled that drying laundry be moved inside on weekends. The laundry line, symbol of the intimate proximity of lower-class urbanites, was shunned or interiorized in Levittown, at least on its most public days. A newsletter explained that “hanging wash on Sunday might annoy neighbors, who are probably entertaining friends or relatives. Why not save it for Monday or hang it in the attic?”[11] To accommodate this rule women did dry their laundry in the attic or even in the living room. Levittown’s public face–at least when the neighborhood was inhabited by men home from work and by guests–required active disidentification with the visible intimacy of neighbors.

     

    Figure 4: Levittown Street Scene.
    Photo by Dana Cuff (2004).

     

    The problems associated with slums and potentially with Levittown were pathologized in the logic of Levitt: they could infect and spread to others. This necessitated a further measure: fences were not permitted. All residents had visual access to their neighbors’ back and front yards. This democratized the Panopticon’s principle of surveillance: at Levittown, everyone could openly police everyone else. With no mediation between interior and exterior, residents’ secrets, their hidden selves, had to be contained in four small rooms. In public, social conformity dominated the relationship between houses through regulations and residents’ practices. Nonconformity was an affront that bordered on subversion and potentially destabilized the emerging community (see Kelly 62). Levitt and Sons’s project to establish stability was taken on in earnest by the Levittowners.

     

    As for the neighbor as a proto-political figure, Levittowners were not “bowling alone.”[12] Amid the ocean of individual houses, neighborhood centers contained schools, community stores, and parks, and residents started innumerable local clubs and branches of national voluntary organizations. Presumed degrees of homogeneity were discredited in these voluntary organizations; as members discovered their differences, factions, conflict, and debate were the norm. Groups tended to splinter along class lines, so that group survival depended upon leaders who could generate cooperation and tolerance.[13] Political action as a form of resistance was marked in the early days of Levittown, but the Levitts were quick to shut down opposition.[14]

     

    Modernism’s Figure

     

    “A modern, harmonic and lively architecture is the visible sign of authentic democracy.”

     

    –Walter Gropius

     

    At another tract of postwar middle-class houses, a progressive neighbor was figured not only in the street and front yards but inside the houses. Architect Gregory Ain’s Mar Vista Tract in Los Angeles (1947) is one of a handful of modernist experiments across the United States that offers a striking contrast to Levittown.[15] Like the latter, Mar Vista is a study in mass housing for the middle class, though much smaller: just over fifty houses were built on three parallel streets. The small scale of production created a district within a town rather than a region de novo. Instead of standard long and narrow lots, Ain created short and wide lots, each with about eighty feet of street frontage. Landscaping by the distinguished modernist Garrett Eckbo unified the exterior through tree-lined streets and uninterrupted parkways. At the rear of the houses, fences separate private yards, but the landscape simultaneously treated those spaces as a continuous whole (see Figure 5). Houses together with vegetation create a formally explicit double reading of the individual and the collective, of privacy and public identity, that distinguishes the Mar Vista Tract.

     

    Figure 5: Ain’s Aerial Perspective Rendering
    Image used with permission of the Architecture and Design Collection,
    University Art Museum, University of California, Santa Barbara.

     

    The occupants of this modernist suburb moved for many of the same reasons as did their Levittown counterparts.[16] Yet the figure of the modern neighbor was as distinct from Levittown’s as were the modern house and neighborhood itself. Rather than relying on social controls like the rules the Levitts laid down in Levittown, Mar Vista’s repetitive house form provides an expanded realm to the private individual while leaving the imagination of the neighbor open and unscripted. In contrast to the social conformity that dominated Levittown, this willingness not to figure the neighbor, I suggest, is a stronger indication of the capacity for tolerance and actual association than Levittown’s nervous implication that the neighbor must be a lot like oneself.

     

    Instead of a reassuring veil of sameness, the Mar Vista Tract creates its neighborhood from an unpretentious abstract form. Minimalist rather than stripped-down, economy serves an aesthetic purpose in Ain’s design. The street becomes a parkway, a shared field both defined and occupied by walled compounds. Together the self-similar objects create not a scattered array as at Levittown, but a unified wall along the street that links the diverse progressives who chose to live there. No friendly neighbor is figured in these façades, where the filtering function is architecturally explicit: the street-side exterior belongs to the collective, formal and clear (see Figure 6); the inside belongs to the household at whose invitation the other enters an open, fluid realm of intimacy (see Figure 7). Bedroom boundaries are somewhat ill-defined, living rooms can open to adjacent rooms, and the innermost interior is integrally linked to a private exterior. Movable walls open spaces to one another, a dining/work table bridges the kitchen and the living room, large planes of glass bring in light and views of the garden from the rear yard. The modern window wall at Mar Vista is at the rear, domesticated rather than exhibitionist in its orientation to the private yard. Thus the façade does not engage the neighbor as stranger at all, neither representing the householder to him nor forming itself around a fantasy of him. Rather, it gestures to the intimate other, the friend or neighbor who has been invited into the house: once past the front door, all is open to him.

     

    Figure 6: Mar Vista House
    Photo by Dana Cuff (2004).

     

    Figure 7: Mar Vista Floor Plan Projection
    Image used with permission of the Architecture and Design Collection,
    University Art Museum, University of California, Santa Barbara.

     

    If an interplay of desire and danger may in a modest way be found in Mar Vista, it is as a quietly revolutionary notion of domestic life, lived as much within the private exterior and between rooms as within enclosed, utilitarian spaces with specific programs (e.g., kitchen, bedroom). The stark exterior shocked passersby; some sought this unknown future and some felt threatened by it. Mar Vista’s abstraction and even disfiguring of the house transforms the specificity of its structure into a domesticated form of the sublime. At Levittown, the face of each house offers self-conscious, controlled hints of the individual within–a curtain, a railing, a vase, a rosebush in the front yard. At Mar Vista, a wall plane folds into a roof that hovers over a clerestory window; the house seems to contain space rather than people. We have little idea what lies behind the façade, except that its occupants must have made a genuine choice to be there at all. Anonymous yet apart, the houses at Mar Vista make clear that otherness is admissible. In fact, early Mar Vista was home to diverse neighbors. Residents recall that their neighbors included gay and lesbian couples, artists, working women (including a hooker), communists, union activists, musicians, Jews, interracial couples, professionals, and laborers.[17] While surely romanticized in recollection, this cacophony of others may have composed one form of the “authentic democracy” to which Gropius refers. At Mar Vista, figure and ground are ambiguous, variously perceived between the individual house and the collective whole; at Levittown, there is only the house.

     

    Modern architecture at the mid-century has commonly been associated with progressive or even leftist ideals.[18] Gregory Ain was a communist and, according to one study, a women’s rights advocate.[19] Yet according to early residents, Mar Vista was decidedly not about politics in the formal sense. Instead, the mere atypical choice to live there gave Mar Vista residents their identity, and that appreciation of what was not-the-norm reflected and lent a tolerance for difference among “thinking people.”[20] They stepped determinedly into a domestic future with their unscripted neighbors. The strangers who chose to reside in Mar Vista asssumed they had some small but profound common ground, but Ain’s architecture–which was in fact that ground–does not attempt to determine or figure its content for them.

     

    Developing Neighborhoods

     

    Levittown and its modern suburban alternative, the Mar Vista Tract, laid down two distinct directions for the U.S. postwar figure of the neighbor. In the intervening six decades, it was Levittown whose figure of the neighbor evolved, replicating and mutating, but never really straying from a structural model in which the nuclear family predominates, contained by the house and controlled by regulation and a loose organization of houses in the landscape. Mar Vista’s aesthetic and functional future, with its abstract public expression and more inventive private sphere, was nipped in the bud. Its dynamic, open-ended setting for self and other was not sustained in the typical suburban imaginary. The few progressive architects and planners who tried to implement innovative neighborhood schemes met stiff resistance from skeptical bureaucrats at federal and lending agencies whose approvals were required. Architectural conformity was one of the strategies such agencies employed to reduce the financial risk of mass housing.[21]

     

    Of course the dream of a quiet house in the garden, promised by early postwar suburbs, faltered. The actual landscape of the postwar suburb is hardly idyllic; the traffic is a nightmare; our ownership is fragile at best; politics have grown embittered; and at base, we don’t feel safe in the suburbs anymore. The two suburban developments to which I now turn portray two opposed approaches to the dilemmas of contemporary suburbia. Both design approaches stem from Levittown. Each uses architecture self-consciously to form and market the development, and each has been promoted as an exemplar of contemporary residential design. The first, Sagaponac, lies on Long Island, east of its progenitor, Levittown, and when completed will consist of three dozen unique contemporary architectural works. The second, Celebration, Florida, is the brainchild of the Disney Corporation and the darling of the neo-traditional New Urbanist movement. Sagaponac takes Levittown’s emphasis on the isolated house to an extreme; Celebration demonstrates that Levittown can be reclothed. Both settings interiorize and sustain the preeminence of the private household (if not of the house) while maintaining a problematic relationship to the collective public sphere.

     

    Hyper-Suburbia: Designing the Neighborhood Away

     

    When developer Coco Brown decided to build on his land holdings in Sagaponack, New York, he didn’t look to early models of community design, such as Radburn, or to architecturally coherent neighborhoods such as the Mar Vista Tract or Frank Lloyd Wright’s Oak Park. Instead, under the advisement of architect Richard Meier, he hired a cast of some thirty-five star architects to build one-off showcase houses sited on large subdivided lots spread across his hundred acres (see Figure 8). Prospective residents would purchase one of these speculative custom designs to acquire cultural capital, take part in some hyper-suburban American Dream, and have other like-minded weekenders for neighbors.[22] As in the rest of the Hamptons, the future occupants of these second homes come from Sorkin’s and Jacobs’s New York City, where they must have developed a need to escape all that propinquity.

     

    Figure 8: Sagaponac house designed by Hariri and Hariri
    Photo by Dana Cuff (2004)

     

    In reaction to the failures of the postwar suburb, Sagaponac retreats further inside and away from the public sphere. While it is a subdivision, Sagaponac is hardly a neighborhood–the term seems quaint applied there. It is a collection of private, ready-to-wear statements their occupants purchase with the option of minor tailoring. Rather than being sited in a walled or gated community, at Sagaponac each house is protected by its surrounding vegetation, which naturalizes and effectively thickens the wall (see Figure 9). Gropius is cited in an essay that touts the optimism of Sagaponac’s architecture: “the Houses at Sagaponac are, in their different ways, doubtlessly modern; they are surely lively, and in their heterogeneity, they are harmonic in a way that contradicts Gropius’s intended meaning, but in so doing are, however imperfectly, truer to his words” (Chen 11). A convoluted apology, but not without meaning. Modern architecture at Sagaponac, the author suggests, exposes a desirable diversity, a “discrete kind of utopia” defined against the status quo and bolstered by the possibility of the new. When Gropius made his statement, he had fled persecution in Germany to seek in the U.S. freedom for political and architectural expression. No collective, political or otherwise, is imagined at Sagaponac, but the value it places on freedom for individual expression is consistent with both neo-conservative notions of an ownership society (in which owners are free to do as they please with their property) and neo-liberal versions of multiculturalism (which remove the burden of seeking collective solutions to broad social problems). This privatized utopia is hardly the “authentic democracy” Gropius meant.

     

    Figure 9: Sagaponac house designed by Harry Cobb in the background,
    with a streetside marketing sign showing the architect’s rendering.

    Photo by Dana Cuff (2004).

     

    Despite the contemporaneity of its architecture, Sagaponac develops not the modern figure of the neighbor implied by Ain’s houses, but the neighbor of its precursor, Levittown. Both Levittown and Sagaponac specifically interiorize the private lives of residents in vivid contrast to ill-defined exterior shared realms. While Levittown figured similar occupants of repetitive house forms, Sagaponac imagines that its residents share the fundamental quality of being highly discriminating consumers. Sagaponac intimates that its residents hold a common value: the house is an investment in art that extends one’s status and wealth. The extreme demands for social conformity at Levittown are mirrored in Sagaponac’s inordinate emphasis on individualism–a renowned architect, a unique building, a discriminating buyer, a solo developer. The conception of the neighbor is not the neighbor as other, but as fellow individualist.

     

    If it’s unfair to link Sagaponac to Levittown, it is for only one reason: it does not even intend to form a community, but instead a loosely curated collection of artworks. Although their partial proximity makes neighbors of the residents, their bond will be primarily their investment in Sagaponac. The houses, designed to include their own guest houses, accommodate the idealized family isolated with its intimate friends. Outside the dwelling, Sagaponac adopts the development pattern of the masses, selling speculative houses unified only by a basic infrastructure of streets and sewers. In some ways, Sagaponac demonstrates how deeply ingrained the Levittown model of housing has become. As in the Mar Vista Tract, it isn’t necessary to have a highly articulated interstitial realm in order to create spaces for the practices that emerge among proximate strangers. But it is difficult to imagine that Sagaponac residents will ever find one another, by chance or on purpose. With houses set back from the street, hidden behind trees, no sidewalks and no nearby public meeting place, Sagaponac’s weekend residents will have a hard time managing a homeowners’ association, should any need for one arise.

     

    Evoking the Neighbor

     

    Figure 10: View down Celebration’s Market Street
    Photo by Dana Cuff (2004).

     

    Figure 11: Residential Street in Celebration
    Photo by Dana Cuff (2004).

     

    While Sagaponac’s occupants retreat into housing that respects absolute privacy, Celebration, Florida symbolically molds an idealized community. Perhaps the distinct rejection of architects by the typical suburban neighborhood has allowed new urbanism to become such a potent force in the domestic landscape. Even as the Levittown pattern of a field of isolated, interior-oriented objects tied only by roadways has gone virtually unchallenged, precisely its neighborhood elements of parks, pools, and shopping within residential blocks have been phased out. The speculative house prevailed over most American neighborhoods until 1991, when leaders of the Congress for the New Urbanism published the Ahwahnee Principles. Seaside, a contemporary neo-traditional development in Florida, became the talisman of the new urbanist movement, and a new future for neighborhood architecture took shape. This future looked nostalgically and unapologetically to a time before the car, household mobility, and big-box retail. The new urbanism would remake an older U.S. small town, resuscitating and transforming the mythos of community, simplicity, security, and so on. After having produced many books, articles, and, most importantly, newly built suburban neighborhoods, new urbanism has been soundly criticized from nearly every academic perspective and absorbed by the marketplace with profound efficacy. Such a discrepancy has not been seen since Levittown.[23]

     

    Celebration, new urbanism’s most complete manifestation, illustrates the weird contradictions of its design ideology.[24] This suburban development near Orlando is more than a themed environment; it is wholly branded. It has borrowed the Disney name not only to insure its property values, but to create what residents call a fantasyland within everyday life. That everyday life is regulated to an unprecedented extent to present a homogeneous group of neighbors on the outside. Taking its cue from the Levitts, the Disney Corporation insures that neighbors maintain the look of neighborly sameness, from the color of their curtains to the depth of their mulch. Celebration’s town plan centers around a pedestrian-oriented business district, but like the scattered neighborhood centers in Levittown, Celebration’s commercial district struggles to survive. The residential architecture employs the symbols of community life: porches, small parks, playgrounds, a family of historicist architectural expressions, public benches, parkways, a couple of diners, a town hall. The town hall is empty, however, because Celebration is governed by the Disney Corporation: democracy is literally reduced to its architectural sign.[25] As for the neighbor, perhaps no place in America has so explicitly conjured a figure of the “we” through its architecture. Even private house interiors at Celebration, anthropologist Dean MacCannell argues, are organized for public view to eradicate fears that a hidden difference lurks behind the façade (113-14). In this pressure-cooked neighborhood, civility can be as superficial as brick veneer, as some bitter and well-documented battles between residents have demonstrated.[26]

     

    Sagaponac and Celebration, then, articulate anxiety about the neighbor. Sagaponac adopts Levittown’s deployment of the detached house as the rigid container of privacy and glorifies that privacy in expressions of individuality, while Celebration extends that privacy’s complement: the construction of a highly regulated and spatially defined common realm. When the figure of the neighbor is so overtly defined, informal practices of neighboring seem less necessary. In the fantasy of Celebration, it is as though one already knew one’s neighbors; in the fantasy of Sagaponac, one need never meet the neighbor, assured that we share the same good taste and desire for privacy. Thus the political fruits of civility born of actual negotiation with the unknown are diminished.

     

    Reconfigurations

     

    What lies beyond the paint, outside the box of domestic privacy, is uncertain turf. This space, both unprivate and unpublic, is home to the figure of the neighbor and birthplace of civil society. It is just here that we need a new conception of architectural community. Architectural critic Paul Goldberger, worried over Sagaponac’s insular qualities, mustered just two counter-cases of developments from a vast repertoire of architectural examples: Radburn, built in the 1920s, and Celebration. Both, he believes, represent efforts at community-building and embody a public realm. Aware that this is not quite accurate, yet stopping short of criticizing Celebration, he goes on: “The great accomplishment at Radburn is that it creates a sense of the public realm without making the place feel in any way urban.”

     

    Goldberger cannot name this public realm that is not urban because as yet it has no name, nor has it been defined. But he identifies it at Radburn, where there is “a fully suburban, even almost rural, kind of feeling.” “Rural,” “suburban,” and “urban” describe this interstitial space of the neighborhood no better than “public” and “private.” At Radburn the houses faced onto a shared open space that linked the development together. In more typical suburbs, neighbor-form is an ill-defined realm of side yards, curbside mail boxes, elementary school parking lots, and cul-de-sacs. These inadvertently intimate grounds give way to a nearby Starbucks, the laundromat, the city council hearing room, and the city park. This circumstantial, ad hoc, and interstitial figure of the neighbor is not easily named or programmed into architectural form. Although Goldberger recognizes it when he sees it at Radburn, he misapprehends Celebration’s neighbor-coating as some Habermasian public sphere.

     

    Postwar residential landscapes interiorized the private sphere, giving over the visible exterior to a more formal, shared realm. In spite of the intentions of builders like the Levitts, however, the suburban house could not contain its occupants. The interiors were too small, the yards too open, and most of all, the proximity too great. An inadvertent figure of the neighbor arose whose superficial sameness distracted residents from their actual differences. The appearance of difference or otherness triggered conformist reactions, and thus emerged the informally divisive politics of the neighborhood. By contrast, at the Mar Vista Tract the figure of the neighbor remained more unscripted and left room for difference. In both settings, local politics evolved not only to represent, but also to construct group identity. Unexplored, exteriorized public identity within a neighborhood was reinforced by a collectively identified other. From the early Island Trees residents who fought the name change to Levittown to Celebration residents worrying about their teenagers at the wider area’s public high school, identity and difference are constructed together.

     

    Here it is worth reconsidering Sagaponac, where one can predict that sizable interiors, closed exteriors (closed off by landscape as well as by orientation away from other houses), lack of proximity, and weekend-only occupation will yield little that resembles a neighborhood–only “Houses at Sagaponac,” as the development is called. This would be of no consequence whatsoever if not for its ethical implications regarding the state of civil society. By the standards of such society, I would argue, residential developments hold an ethical imperative to anticipate some neighbor while stopping short of dictating or fantasizing who that neighbor is. If architecture and planning are to contribute to the formation of deliberative democracy and civil society, we should design for an emergent, as yet unknown neighborliness. Consider what might have happened at Sagaponac had Coco Brown established a continuous easement across some part of every site for a walking trail.[27] Not only would the individual retreats have been inclined to address that small gesture toward publicity, but the weekend residents would have had some alternative to the mythical ideal of household isolation. Like the unscripted front green contained by a continuous building wall at Mar Vista, such a gesture might have allowed Sagaponac to imagine itself not just as a series of buildable lots, but as a loose string of neighbors.

     

    The fact that neighborhood architecture is pliable–although Levittown provides the recipe for suburban settlements, at least it does so flexibly–is one of the most promising conclusions that can be drawn from these case studies. From modern to postmodern developments, from Levittown to Celebration, an observable transformation of neighborhood architecture sheds light on future paths. The next phase of neighborhood architecture will be affected forcefully by three shifting conditions: the rising significance of neighborhood politics, emerging domestic technologies, and changing conditions of regional land use that are forcing residential development into urban infill sites. These conditions place otherness in greater proximity than ever before, heightening urges to expose or to repress differences within the neighborhood. These conditions can spark new figures for the neighbor, and new bases for civil society.

     

    Notes

     

    1. The “spite fence” was a famous landmark on Nob Hill in San Francisco. The owner of the mansion in the photo built an immense fence (so high that it required buttressing) around a less well-off neighbor. By spoiling his view and house, the landowner hoped to force his neighbor to sell his property. Today what are called “spite fence laws” prohibit such malicious actions.

     

    2. For a discussion of neighborhood privatization, see Ben-Joseph.

     

    3. The recent national elections remind us of the political differences between city and suburb (the former voting primarily Democratic and the latter, Republican). While these data are troubling, they do not necessarily reflect the “suburban canon”: the idea that suburbanites flee difference while expressing intolerance. Although the history of urban migration outward has been made up of such flight, today’s suburbanites are more heterogeneous than ever and cannot easily be distinguished spatially, economically, or racially from their urban counterparts. Much of what was classified as “urban” in the election data (Standard Metropolitan Statistical Areas) is suburban in form. This essay considers suburbs not because they represent some particular class of Americans, but because they are the places where most Americans live.

     

    4. The term “community builders” comes from Weiss. “Merchant builder” is a more common term and the title of a book by Eichler, son of a prolific developer of modern houses.

     

    5. Proxemics is a field of study that evolved from ethology in which the regular spatial patterns of human behavior are held to be most vividly portrayed in the different cultural norms of personal space. See such founding works as Hall and Sommer.

     

    6. Arendt draws her notion of the public world of stable appearance from Kant; see her Lectures on Kant’s Political Philosophy.

     

    7. My interpretation of these four places stems from existing literature and my own field work. I visited each site, photographed it, studied local archives, and interviewed residents (except in the case of Sagaponac, which is still uninhabited at the time of this writing). I agree with critics such as Paul H. Mattingly that suburban studies has not sufficiently engaged suburbanites’ own stories of their communities. Residents in this project by and large expressed contentment about their neighborhoods, and gave nuanced descriptions of both social and physical spaces.

     

    8. According to Kelly’s historical account, “in the abstract, Levittown was virtually a replica of the officially recommended subdivision styles of the FHA” (47n8).

     

    9. The original Levittown in Long Island (as opposed to subsequent Levittowns built in Pennsylvania and New Jersey) was built over a period of four years, from 1947 to 1951. The first phase, completed in 1948, was comprised of 6000 identical Cape Cods built as rental units and later offered for purchase. The next phase, starting in 1949, introduced several variations on the Ranch model. The 1950 and 1951 houses included built-in televisions; all houses had washing machines. In the end 17,500 houses were built by Levitt and Sons in Levittown (Kelly 40-53).

     

    10. At the rear of the Ranch house, generous glazing faced the back yard.

     

    11. 1952 Levittown Property Owners Association booklet, Levittown Public Library collection. While there remains a regulation against fences in the covenants, codes, and restrictions, at present nearly every house has a fenced rear yard.

     

    12. See Putnam on the devolution of communitarianism to isolationism in the modern U.S.

     

    13. Sociologist Herbert Gans reports extensively on politics and everyday life in the third Levittown, built in Pennsylvania eight years after the Long Island Levittown community. His information about volunteer organizations comes from living there as a participant observer (see especially 52-63). While he focuses on socio-economic status, Gans inadvertently tells much about the residents’ ideas of otherness and the relationship between their volunteer activities and their participatory politics.

     

    14. A resident association opposed Levitt’s proposal to change the original name of the subdivision from Island Trees to Levittown. Eventually Levitt made the change unilaterally, but not before removing the resident association’s permission to use the community room. Levitt was quick to shut down all opposition. He purchased the local newspaper in 1948, just when the paper took stances against several of his initiatives, including a rent increase. Levitt insinuated in a brochure that the Island Trees Communist Party had spearheaded the opposition (and it appears this may have been the case). See newspapers in the Long Island Studies Institute archives at Hofstra University and brochures at the Levittown Public Library.

     

    15. The most obvious and significant difference is scale: Mar Vista was planned for 100 homes (of which half were built) in comparison with Levittown’s 17,500. In addition, Mar Vista houses were more expensive than Levitt houses (approximately $12,000 and $8,000, respectively). Other examples of modern suburban houses include the Eichler Homes, built primarily in Northern California, and the Crestwood Hills development in Los Angeles.

     

    16. See the surveys of residents’ reasons for moving and their aspirations for life in Levittown in Gans (33, 35, 39). Information on Mar Vista residents is gathered from my interviews with original residents, 2004.

     

    17. Interviews with early residents, 2004.

     

    18. For a discussion of the interconnections between residential modernism and progressive social ideals, see Zellman and Friedland.

     

    19. On Ain’s political orientation, see Denzer’s “Community Homes: Race, Politics and Architecture in Postwar Los Angeles.”

     

    20. On the politics of modernism at Crestwood Hills, see Zellman and Friedland. Several early residents have histories of union organizing or other leftist political activism. They imagined their primary political stance in relation to the neighborhood, however, to be one of tolerance as part of a forward-looking society. One early resident described Mar Vista as a neighborhood of “thinking people” in contrast to those who chose to live in West L.A.’s Levittown equivalent, Westchester. Still, it should not be imagined that Mar Vista was or is a model of tolerance. One resident recounted a petition drive to force an early Latino family in the neighborhood to move away. While the current population at Mar Vista still includes a few of the original buyers, residents now represent a higher income group (homes at present sell for nearly $1 million) and are afficionados of mid-century modernism as a nostalgic ideal.

     

    21. See, for example, Zellman and Friedland on Crestwood Hills (n25). Wright discusses the Federal Housing Administration’s “adjustment for conformity” criteria for evaluating housing plans (251).

     

    22. For statements by Brown and brief essays by several authors, see Brown. The area of the Hamptons where the houses are built is called Sagaponack, but Brown named his development Sagaponac (without the k). Among the four case studies presented here, Sagaponac is unique in two important ways: it is exclusively for the wealthy, and it consists primarily of second homes rather than permanent residences. As such, it is an outlier development rather than a middle-class suburban one.

     

    23. Even as architectural critics proclaim the death of New Urbanism (see, for example, New York Times architecture critic Nicolai Ouroussoff’s comments on a proposed stadium), suburban developers, the U.S. Department of Housing and Urban Development, and foreign planning bodies in Sweden, Spain, and China, to name but a few, are adopting its tenets.

     

    24. See MacCannell. For more on Celebration, read the two participant observer volumes: Frantz and Collins, Celebration, USA, and Ross, The Celebration Chronicles.

     

    25. In 2003 residents were added to the governing board and in the near future, residents will for the first time have a majority on that board.

     

    26. An early battle over the school made Disney’s control over the town evident. Residents who wanted to change school policy were dubbed “the negatives” by supporters of Disney’s educational plan, silenced and evicted. See Pollan.

     

    27. Ironically, this kind of informal public infrastructure is a dominant design component in a number of schemes by the firm Field Operations whose principal, Stan Allen, is a Sagaponac architect.

    Works Cited

     

    • Arendt, Hannah. The Human Condition. Chicago: U of Chicago P, 1958.
    • —. Lectures on Kant’s Political Philosophy. Ed. Ronald Beiner. Chicago: U of Chicago P, 1992.
    • Bachelard, Gaston. The Poetics of Space. Trans. Maria Jolas. Boston: Beacon, 1994.
    • Ben-Joseph, Eran. “Land Use and Design Innovations in Private Communities.” Land Lines: Newsletter of the Lincoln Institute of Land Policy 16 (Oct. 2004): 8-12. <http://www.lincolninst.edu/pubs/pub-detail.asp?id=971>.
    • Brown, Harry J., ed. American Dream: The Houses at Sagaponac. New York: Rizzoli, 2003.
    • Chen, Aric. “Domestic Architecture Reborn.” Brown 10-12.
    • Copjec, Joan, and Michael Sorkin, eds. Giving Ground: The Politics of Propinquity. London: Verso, 1999. 106-128.
    • Denzer, Anthony. “Community Homes: Race, Politics and Architecture in Postwar Los Angeles.” Community Studies Association Conference, Pittsfield, MA, 2004.
    • Eichler, Ned. The Merchant Builders. Cambridge: MIT P, 1982.
    • Frantz, Douglas, and Catherine Collins. Celebration, USA. New York: Holt, 1999.
    • Gans, Herbert. The Levittowners. New York: Vintage, 1967.
    • Goldberger, Paul. “Suburban Chic.” Interview with Daniel Cappello. The New Yorker 6 Sept. 2004 <http://www.newyorker.com/online/content/?040913on_onlineonly02>.
    • Hall, Edward T. The Hidden Dimension. Garden City: Doubleday, 1966.
    • Jacobs, Jane. The Death and Life of Great American Cities. New York: Vintage, 1961.
    • Jameson, Fredric. “The Cultural Logic of Late Capitalism.” Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991. 1-54.
    • Kelly, Barbara M. Expanding the American Dream: Building and Rebuilding Levittown. Albany: State U of New York P, 1993.
    • MacCannell, Dean. “New Urbanism and its Discontents.” Copjec and Sorkin 106-128.
    • Mattingly, Paul H. “The Suburban Canon over Time.” Suburban Discipline. Eds. Peter Lang and Tam Miller. New York: Princeton Architectural, 1997. 38-51.
    • Miller, Jacques-Alain. “Extimité.” Lacanian Theory of Discourse: Subject, Structure and Society. Ed. Mark Bracher. New York: Routledge, 1994. 79-80.
    • Ouroussof, Nicolai. “A Sobering West Side Story Unfolds.” The New York Times 1 Nov. 2004: E1.
    • Pollan, Michael. “Town-Building Is No Mickey Mouse Operation.” New York Times Magazine 14 Dec. 1997: 56-88.
    • Putnam, Robert D. Bowling Alone: The Collapse and Revival of American Community. New York: Simon, 2000.
    • Ross, Andrew. The Celebration Chronicles. New York: Ballantine, 1999.
    • Schudson, Michael. Advertising, the Uneasy Persuasion. New York: Basic, 1984.
    • Sommer, Robert. Personal Space: The Behavioral Basis of Design. Englewood Cliffs: Prentice-Hall, 1969.
    • Sorkin, Michael. “Introduction: Traffic in Democracy.” Copjec and Sorkin 1-15.
    • Weiss, Marc. The Rise of the Community Builders: The American Real Estate Industry and Urban Land Planning. New York: Columbia UP, 1987.
    • Wright, Gwendolyn. Building The Dream: A Social History of Housing in America. New York: Pantheon, 1981.
    • Zellman, Harold and Roger Friedland. “Broadacre in Brentwood? The Politics of Architectural Aesthetics.” Looking for Los Angeles: Architecture, Film, Photography, and the Urban Landscape. Eds. Charles Salas and Michael Roth. Los Angeles: Getty, 2001. 167-210.

     

  • Neighborly Hostility and Literary Creoles: The Example of Hugh MacDiarmid

    Laura O’Connor

    Department of English
    University of California, Irvine
    loconnor@uci.edu

     

    This article explores the influence of linguicism–discrimination against others on the basis of language and speaking style–on the poetics and politics of literary Creoles by examining the “Synthetic Scots” of modernist poet Hugh MacDiarmid. When languages that have previously been separate are brought into contact as a result of colonization, migration, and globalization, both the languages themselves and popular perceptions of them alter significantly. The proliferation of hybrid Englishes that has accompanied the monocultural thrust of “global” English has affected literary production in English significantly. Hybrid Englishes are formed in what Mary Louise Pratt describes as “contact zone[s] . . . where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery or their aftermaths as they are lived out in many parts of the world today” (4). The close proximity of English to Scots, Gaelic, and Welsh, and the documented history of their long interaction, make the internal context of the British Isles a fertile site for analyzing colonial contact-zones, places where English coexists with other vernaculars that have been marginalized or almost supplanted by it. As I will suggest, the literary Creoles that develop under conditions of linguicism illuminate the dynamics of intimate and hostile relations across a contested border. MacDiarmid’s poetics reveals, for example, that forms such as blazon and caricature reflect and attempt to reintegrate on a linguistic level one’s neighbor’s ambivalence toward oneself.

     

    Even as it expresses the ambivalences of linguistic proximity, the convergence of diverse languages and dialects is in many ways a boon for literary creativity. Behind the apparent cohesion of a literary language lies “an intense struggle that goes on between languages and within languages,” Mikhail Bakhtin observes, and a multilingual or multidialectal environment enables writers “to look at language from the outside, with another’s eyes, from the point-of-view of a potentially different language and style” (Dialogic 66, 60). When writers combine two or more linguistic systems that relate to one another in a single literary utterance as do rejoinders in a dialogue, they objectify the worldviews of the juxtaposed idioms to form what Bakhtin characterizes as the “intentional hybridization” of “dialogical” discourse.

     

    The ability to see one’s own linguistic habitus in the light of another’s owes something to linguicism, according to Bakhtin. He locates its prehistory in parodic-travestying expressions of neighborly hostility, the “ridiculing [of] dialectological peculiarities, and making fun of the linguistic and speech manners of [other] groups . . . that belongs to every people’s most ancient store of language images” (82). The habit of disparaging the speaking styles of neighboring speech communities and social inferiors is as old as ethnocentrism (the Greek barbaros is supposed to be an onomatapoeic imitation of incomprehensible speech) and the competitive pursuit of social prestige: “The rich man speaks and everyone stops talking; and then they praise his discourse to the skies. The poor man speaks and people say, ‘who is this,’ and if he stumbles, they trip him up yet more” (Ecclus. 13.28-29). In this essay I use the metaphor of the “Pale/Fringe” contact-zone to track how the linguicism of English-only Anglicization (figured as “the English Pale”) and the concomitant translation of the receding Gaelic and Scots culture into a romanticized “Celtic Fringe” made linguicism a pervasive and constitutive feature of British cultural life. English-only linguicism encompasses the destruction or near-supplantation of indigenous languages; the ostracism of competing vernaculars from the center of power; and the stigmatization of speakers of other languages or vernacular Englishes as “beyond the Pale.” The literary Scots of MacDiarmid exploits the discrepant registers of his hybrid linguistic heritage in order to dramatize, interrogate, and reconfigure the high/low hierarchy established between the encroaching English and marginalized Scots vernaculars.

     

    In 1977, a BBC interviewer asked Hugh MacDiarmid, then the grand old man of Scottish letters, what difference it would have made had he been born ten miles further south and hence an Englishman. Growing up in Langholm had imbued him with “a border spirit where differences are accentuated by proximity,” MacDiarmid replied, “the frontier feeling” that made him a fervent Scottish nationalist and an unremitting vanguardist (Thistle 287). The “frontier feeling” is evident in MacDiarmid’s nationalism, which is defiantly bellicose toward the powerful English neighbor, and in his eagerness to experiment, to push the boundaries of consciousness, and to restlessly, ceaselessly innovate. He is intimately familiar with the bordering English culture, yet his “border spirit” intensifies his antipathy and estrangement from it. Neighborly hostility became the creative agon and the raison d’être of his lifelong campaign for Scotland’s cultural secession from England.

     

    The genesis of “Hugh MacDiarmid” out of an encounter between Christopher Murray Grieve (1892-1978), a minor Scottish poet in English, and a Scottish etymological dictionary is one of the marvels of literary modernism’s annus mirabilis, 1922. Grieve had turned to the dictionary in order to lampoon what he then saw as the mindless sentimentality of the Scots verse found in the “poetry corner” of provincial newspapers. In the course of caricaturing a poetic practice he despised, however, Grieve discovered a nascent literary vernacular in the play of “differences accentuated by proximity” between the Scots headwords and their English glosses that persuaded him that the vernacular could be renovated into an international literary language. He patented his new voice with an ultra-Scottish authorial signature: “an immediate realization of . . . [the] ultimate reach of the implications of my experiment made me adopt, when I began writing Scots poetry, the Gaelic pseudonym of Hugh MacDiarmid” (Lucky Poet 6). “Synthetic Scots,” the stuff out of which “MacDiarmid” is forged, is composed in an ambiguous zone of inter- and intralingual translation between Scots and English, under the remote influence of Scotland’s third language, Gaelic.

     

    In order to appreciate the complexities of Grieve/MacDiarmid’s “religious conversion” and the commonalties and differences between his predicament and those of Anglophone writers elsewhere, it is necessary to know something of the conflictual multilingual history of the British Isles (Buthlay 149). Scottish developed out of a Northumbrian dialect into a literary vernacular in the fourteenth century and served as the official language of the kingdom of Scotland for two centuries.1 By the late-eighteenth century, the Scottish-Southron bidialectalism of the fifteenth century had polarized into diglossia, the coexistence of a “High” (English) vernacular with a wide range of functions and a “Low” (Scots) vernacular with restricted usage.2 English/Scots diglossia is part of a larger pattern of Pale/Fringe linguicism that boosts the superiority of English and belittles Gaelic, Welsh, and other varieties of English as “beyond the Pale.”

     

    The changing metaphorical status of “the Pale” illustrates the role of linguicism in securing the hegemony of English. “The Pale” originally referred to the double ramparts built to keep native Gaels out of confiscated Irish lands and the inner sanctum of the settler-colony and to prevent English settlers from assimilating native mores. In Edmund Spenser’s A View of the Present State of Ireland, the segregating Pale comes to represent the frontline of a perilous linguistic struggle to Anglicize the natives before they could Gaelicize the settlers. The Pale’s dual function of exclusion and restraint in the war between colonial and native speech-communities survives in the idiomatic phrase “beyond the Pale,” which later came to delimit the boundaries of verbal propriety for the modern bourgeois British subject. The phrase “beyond the Pale” calls attention to the intimate reciprocity between the dispositions that are ingrained into our bodily demeanors and the circulation of social prestige “out there” in the public sphere, a symbiosis between the formation of bourgeois subjectivity and the flow of cultural capital that Pierre Bourdieu has theorized in a French context. The broad consensus among the Enlightenment literati and bourgeoisie to adopt (Southron) English as the standard British vernacular changed the tacit rules of what Bourdieu calls the “linguistic marketplace” so that those who could perform the accredited English speaking-style were given a respectful forum to say their piece, while those who lapsed into “Scotticisms” were consigned to the margins.3 Anglophone Scots schooled themselves to measure up to the prestigious English standard and shunned the vernacular. Their self-improving endeavors further widened the High/Low divide by enhancing the prestige of English at the cost of devaluing Scots, and this in turn intensified the pressure to jettison the vernacular in favor of the standard, and so on in a self-perpetuating loop. This loop, which delineates “the Pale” of modern British society, is propelled by the structural disparity between the relatively rare competence in the vernacular and the much more uniform recognition of it, which allows those who have mastered the English acrolect to command deference from those who recognize it as “the best” speaking-style but are not quite able “to talk proper” themselves.4

     

    Because the degree to which one could neutralize one’s “braid Scots” speech measured one’s “class,” accent and speaking-style became highly charged signifiers of ethnicity, class, and of the cross-wired class-and-ethnicity in the Pale. In everyday encounters, the “differences accentuated by proximity” between the mutually intelligible vernaculars are routinely exaggerated into a caricature of deviant Scots, in contradistinction to the assumed and implicit norms of the Pale. The Anglicization of Scotland’s linguistic habitus was popularly regarded as “improvement,” but because the proscription of Scots from the hub of civic life and the inhibition of Scottish styles of speech required repressing the social body, it often felt coercive. In this linguistic milieu, the symbolic status of the “Scotticism,” an utterance that sounds distinctly and distinctively Scottish to one’s own or to others’ ears, becomes charged with ambivalence. Associated with loss of public face and innermost expressivity, Scotticisms became the object of overt condescension and covert pride. Scotticisms exemplify Bakhtin’s theory that “speech genres are the drive belts from the history of society to the history of language” because they disclose the ambivalent slippage between Anglo mask and unreconstructed Scottish ethnicity that delineates the contours of the Pale/Fringe in Scotland (Speech Genres 65).

     

    Scotticisms are tacitly defined by contrast to the purportedly “unaccented” literate speech. Dr. Johnson’s dictum in A Dictionary of the English Language (1755) that “the best general rule” of pronunciation is established by “the most elegant speakers who deviate least from the written word” (qtd. in Mugglestone 208) sets up a Pale between “literate speakers” whose purportedly unaccented speech is assumed to correspond exactly with ordinary spelling and the speakers of other classes and regions whose sociolects are stigmatized as “dialect.”5 The dominant opinion that there is only one correct way to spell and pronounce words, and that it is the English way, vastly increased the authority of English as a universal language of logic, clarity, and formal grace. The normative sway of standard English can be seen in the way Jamieson’s Etymological Dictionary of the Scottish Language profiles Scots as halbsprache, “somehow less than a language but more than a dialect” (McArthur 142). The title of Jamieson’s dictionary asserts that Scots is a language, but by confining itself to a peculiarly Scots vocabulary and mediating the “local” Scots idiom through the explanatory apparatus of “universal” standard English, it codifies the vernacular as ancillary. In contradistinction to the default mode of impersonal, up-to-date, informational English, the Scots headwords are profiled as colorful, quaint, arcane, vanishing “fossil-poetry” or deviant idioms. The documented etymologies linking Scots with other languages independently of English (though Jamieson repeatedly downplays ties with Gaelic6) and the sheer heft of literary citations in the multi-volume opus legitimize Scots as “something more than a dialect,” however.

     

    It seems counterfactual when writing Scots to maintain the illusory “accent-free” effect of standard English, but the use of English orthography to script Scottish habits of pronunciation portrays Scots as unlike the idiom of “the most elegant speakers.” An exaggerated emphasis is placed upon phonological and idiomatic differentiae by tagging dropped fricatives with apostrophes and underscoring divergences from received pronunciation with non-standard spellings, setting the vernacular apart as a specimen of reported “dialect.” Nonetheless, while the scripting of Scots as a dialect indirectly associated a vernacular speaking-style with illiteracy, it also suggested character, lack of affectation, homespun sagacity, and spontaneity in contrast with “standardized” English. The Scots literary revival, led by Allan Ramsay and Robert Fergusson, and at the end of the century by Robert Burns and Walter Scott, tapped into and increased the covert prestige of the vernacular, but at the same time the revivalists partly reinforced the language/dialect dichotomy through the restricted use of Scots for dialogue and popular ballads.

     

    The Pale/Fringe concept draws attention to how the Pale is necessarily defined by what lies “outwith” the Pale, to borrow the suggestive Scots synonym for “beyond,” the outermost limit that bounds and coexists with it. The arduous effort by Enlightenment Scots to become fully Anglicized Britons was accompanied by the salvaging of cultural alterity from the hitherto despised Gàidhealtachd (Gaelic-speaking area). James Macpherson’s translation of Gaelic Fenian mythology into Ossian (1761-5) was a cornerstone in the formation of the Highland romance and the Celtic Fringe. The hyperbolic image of Scottishness that emerged–a panoply of bagpipes, tartans, clans, bards, and sublimely empty (because depopulated) landscape–was fabricated in English, yet authenticated through allusion to Gaelic antiquity and Jacobite fealty to a nobly lost cause. The common nineteenth-century pattern in Europe of articulating an idealized “national character” through literature was distorted in Scotland, Tom Nairn argues in The Break-Up of Britain, because material self-interest encouraged the bourgeoisie and intelligentsia to neutralize or suppress protonationalist separatism, leading to an émigré/Kailyard split in Scottish intellectual life (146).7 An émigré intelligentsia migrated, literally and/or psychologically, to a London-centered transnational Republic of Letters, and the Kailyard (meaning “cabbage-patch,” “rustic”) literati developed a “stunted, caricatural . . . cultural sub-nationalism” of tartanry, which, “uncultivated by ‘national’ experience in the usual sense, [became] curiously fixed or fossilized . . . to the point of forming a huge, virtually self-contained universe of kitsch” (Nairn 163). Scotland’s imageme (the ambivalent and unfalsifiable polarity within which a given national character is held to move) is thus a compromise-formation, a symptom of a contradictory desire to enjoy the comforts of empire without relinquishing those of nationality (Leerssen 279).

     

    Literary criticism and antiquarianism, both of which were profoundly influenced by Matthew Arnold’s On the Study of Celtic Literature (1867), became an alternative means for analyzing the character of Scottish culture and its double-edged relationship with its proximate English other. Arnold argues that the disinterested criticism of Celtic (Gaelic and Welsh) literature could help to transform Anglo/Celtic antipathy into a creative interracial symbiosis: what the poetic, spiritual, ineffectual, and primitive Celt lacks, the prosaic, materialistic, worldly, and progressive Anglo-Saxon can supply, and vice versa. G. Gregory Smith took Arnoldian Celticism to task in Scottish Literature: Character and Influence (1919), a book that exerted considerable influence on MacDiarmid’s poetics and that was reviewed by T.S. Eliot under the revealing title “When Was Scottish Literature?”8 Smith takes issue with Arnold’s ethnological assumption that any trait which is at variance with England’s self-image “may, must, and does come from an outside source; given a spiritual lightness and vivacity in the dull, heavy, practical genius of Teutonic England, it must have come from the Celts” (29). “We have grown suspicious” of ethnic stereotyping that “separate[s] the contrasts in character [by placing] the obverse of a coin in one bag and the reverse in another,” Smith remarks, and posits instead a dualistic notion of identity, drawn from Scottish literature, where “the real and fantastic . . . invade [one another] without warning” like the “polar twins” of Stevenson’s Dr. Jekyll & Mr. Hyde (29, 33, 20). In Smith’s logic, Scottish literature’s supposed contrariness reflects how “Scottish” traits have been split off from one another by English neighbors. Complementarily, Scottish literature integrates what cannot be admitted to be integral on the border itself.

     

    Smith coins the phrase “Caledonian Antisyzygy” to designate the commingling of two contrary moods in Scottish literature, a meticulous observation and “zest for handling a multitude of details” which sometimes borders on “a maudlin affection for the commonplace,” and a “whimsical delight” in the fantastic, “the airier pleasure to be found in the confusion of the senses [and] in the fun of things thrown topsy-turvy” (4, 5, 19). Antisyzygy, I would suggest, is particularly useful in describing the literary reintegration of a national imageme split by border friction. Smith introduces the neologism with playful archness, commenting in a parenthetical aside that either Sir Thomas Browne or Sir Thomas Urquhart (the translator of Gargantua and Pantagruel9) might have so named the trait, but it is evident that disjunctive-conjunctions, “almost a zig-zag of contradictions,” encapsulate the “character” of Scottish literature for him (4). Smith writes that “the Scot, in that medieval fashion which takes all things as granted, is at his ease in both ‘rooms of life,’ and turns to fun, and even profanity, with no misgivings,” and regrets that much literary evidence of the Scottish “delight in the grotesque and uncanny” has been lost through the “decorous” bias of canon-formation (35). Like Bakhtin, Smith intuits a generic kinship between an aesthetics that appreciates “the absolute propriety of a gargoyle’s grinning at the elbow of a kneeling saint” and the uncanny doubles of Robert Louis Stevenson (23, 35). He connects a “constitutional liking for contrasts,” “contrariety,” and enjoyment of “things thrown topsy-turvy” to the Scottish “fine sense of the value of provocation” and “the sheer exhilaration of conflict” manifest in “the old fun of flyting” (a medieval genre of stylized invective and witty raillery) (19-20, 33).

     

    In the context of this cultural narrative of division and partial repair, MacDiarmid’s “Theory of Scots Letters” draws on Smith’s Caledonian-Antisyzygy concept to propose a new direction for a “true” Scottish culture that would work to reassemble the ambivalence of the national imageme. The “future depends upon the freeing and development of that opposite tendency in our consciousness which runs counter . . . to the canny Scot tradition” and hence “the slogan of a Scottish literary revival must be the Nietzschean ‘Become what you are’” (Thistle 136-7). He distinguishes the antisyzygical “true Scot, rapid in his transitions of thought, taking all things as granted, turning to fun and even to profanity with no misgivings, at his ease in both rooms of life” from the “canny Scot,” who is presented by contrast as the Scottish counterpart of the Irish “false-national,” the “West Briton.” Thus while on one level the uncanny Scot is predicated on a non-binary notion of antisyzygy, on another MacDiarmid reinstates coin-splitting stereotyping to debase the canny Scot, whose sobriety, stern conscience, and thrift make him the linchpin of empire, kirk, and industry (Thistle 135-6).

     

    Smith (like Grieve before his conversion) discerns no antisyzygical potential in the Scots vernacular. Smith ridicules Kailyard poets as poor imitators of Robert Burns, “poeticules who waddle in good duck fashion through Jamieson’s, snapping up fat expressive words with nice little bits of green idiom for flavoring” (138-9). In December 1921, MacDiarmid engages in epistolary “guerrilla warfare” in the Aberdeen Free Press against the Doric revival proposed by the recently established Vernacular Circle of the London Burns Club (MacDiarmid, Letters 69). (Scots is variously known as “the Doric,” “Lallans” and “the vernacular.”) A vernacular revival would “cloak mental paucity with a trivial and ridiculously over-valued pawkiness!” MacDiarmid opines, “and bolster up [the peasant’s] instinctive suspicion of cleverness and culture” that keeps Scotland in “an apparently permanent literary infancy,” dwarfed by “the swaddling clothes of the Doric” (754). It would elevate the collective wallowing in the national imageme that takes place at annual Burns Suppers into a populist orthodoxy that would stifle all serious intellectual, literary, and artistic endeavor. A violent antipathy to bourgeois gentility lies behind the unfavorable comparison MacDiarmid draws between a popular poet like Burns, whose ready assimilation into the drawing room secured his decline “from genius to ‘gauger,’” and an unpopular one like Baudelaire, who deliberately made himself into “a bogey to horrify the bourgeois” (“Burns and Baudelaire” 71). For MacDiarmid, the Burns line “Gi’e me ae spark of native fire, that’s a’ the desire” reveals that his precursor’s enormous popularity is predicated on a suppression of the internationalism and intellectualism that MacDiarmid feels are two of the strongest (and most admirable) drives in Scottish history (MacDiarmid, “Robert Burns” 181).

     

    Lest anyone mistake his opposition for cultural cringe or intellectual snobbery, MacDiarmid stresses that he desires the preservation of the Doric and “love[s] it as jealously [as anybody]” and that he “was brought up in a braid Scots atmosphere [and his] accent could be cut with a knife” (MacDiarmid, Letters 754). Almost with the same breath, MacDiarmid portrays vaunting the vernacular as a hokey impersonation of stock Scottish “character” and cites his Scots accent and speaking style as proof of personal authenticity. Responding to the Burns-club argument that Anglicizing makeovers were “mere caste mimicry,” MacDiarmid asks if there is anything to choose between going “Anglo” and going “Scot” “as far as mob-psychology goes, other than the peculiar virtue diehards may attach to minority manifestations?” (753). The rhetorical question arranges the repertoire of available articulatory styles in Scotland between “talking like a book” in the etiolated style of the Pale and “talking like a character from a book” in the colorful (because ethnicized) hyperbole of the national imageme. Convinced that the latter route was a “cul-de-sac” that would render a susceptible public “practically idea-proof,” MacDiarmid launched an assault against the prospect of “a Doric boom just now” by parodying the stock-in-trade of the Kailyard poeticule (756, 755).

     

    The story of the genesis of “MacDiarmid” tends toward caricature, but this may be apt for a poet whose poetics develop out of a memory, on conscious and unconscious levels, of the genres of caricature, Menippean satire, and popular blazons. Indeed, MacDiarmid’s work reveals these rivalrous genres to be poetic correlatives of cultural schism that respond to the stresses of linguistic similarity and difference in proximity. The conscious and unconscious “memory” of these genres pertains to two distinct but related forms of caricature, a hackneyed notion of Scottish “national character” that shapes Scotland’s image at home and abroad, and the exaggerated othering of a Scottish way of speaking that sets the vernacular apart as a hodge-podge of Scotticisms. The title of MacDiarmid’s classic A Drunk Man Looks at the Thistle (1926) conjures a stereotypical Scot: a drunk man in tartan regalia who drinks whiskey, has strongly accented, idiomatic speech-patterns, and is named “MacSomebody.” The international legibility of the stereotype is shown by the near-reflex ease with which associated ethnic signifiers (“tartan,” “bagpipes,” “clannish”) supplement the “drunk” and “thistle” cues to complete a fixed yet phantasmatic image.10

     

    At one stage in his nocturnal odyssey, the “fou” (drunk) speaker of A Drunk Man likens the magnetic sway of stereotype to a “siren sang” whose insistent refrain persecutes him:

     

    But what's the voice
    That sings in me noo?
    --A'e hauf o' me tellin'
    The tither it's fou!
    It’s the voice o’ the Sooth
    That’s held owre lang
    My Viking North
    Wi’ its siren sang . . .
    Fier comme un Ecossais. (2296-2305)11

     

    Fier comme un Ecossais” is the voice of Europe singing the contrast between the aloof hard-drinkers of “the North” and the sensual wine-drinkers of “the South”; the voice of “the Anglo” upbraiding “the Scot”; and the voice of a divided self disavowing the uncanny “tither hauf” of “the canny Scot.” The obsessive replay of the refrain suggests that the speaker’s self-image is branded by a genre he experiences as name-calling. The incantatory voice bears a residue of slanging rituals, connecting “Fier comme un Ecossais” with the popular blazon, a speech genre that Bakhtin defines as epithets of praise or more usually denigration for “the best” attribute of a nationality, city, or group that merge praise-abuse in an indissoluble unity (Problems 429). The congealing of such epithets into commonplaces furnished the basis for Diderot and D’Alembert’s Encyclopédie entry under “caractère des nations“: “National characters are a certain habitual predisposition of the soul, which is more prevalent in one nation than in others . . . it is a sort of proverb to say: airy as a Frenchman, jealous as an Italian, serious as a Spaniard, wicked as an Englishman, proud as a Scot, drunk as a German, lazy as an Irishman, deceitful as a Greek” (qtd. in Leerssen 273).12 David Hume’s essay “Of National Characters” (1748) discusses the cool North/warm South polarity, but “the proud Scot” is neither given a separate mention nor implicitly subsumed under the “English” (“the least national character”) category of his typology (244-58, esp. 253-6).

     

    When MacDiarmid engaged in the dictionary-dredging compositional methods of the Kailyarders, he was surprised by poetry. The 1922 publication of Ulysses and The Waste Land opened his eyes to the “Dostoevskian debris of ideas” and Joycean vis comica that lay untapped in the Scots lexicon, whose “potential would be no less prodigious, uncontrollable, and utterly at variance with conventional morality than was Joyce’s tremendous outpouring” (MacDiarmid, Thistle 129). Through the lens of a Joycean vis comica, the antisyzygical play among “differences accentuated by proximity” in the lexicon–the abrupt shifts of register between the “poetic” Scots head-words and their “prosaic” English glosses; the arbitrary contiguities imposed by alphabetical order; the disjunctive anachronism of diachronically changing connotations; and the artificial synchrony created by containing the vocabulary within a single opus–was “a vast storehouse” for an avant-garde epic.

     

    MacDiarmid’s “Synthetic Scots” mixes an eclectic range of variegated dialects into a literary Creole.13 It is an artificially made vernacular, a synthesis of disparate regional and historic strains of Scots culled primarily from print sources, rather than a naturalistic representation of a vernacular as it is purportedly spoken.14 For MacDiarmid, his new literary vernacular is also more “vital” and intensively synthetic than the English of his everyday life because it cathects with “something known of old and long familiar” in his subconscious. “The amazing difference in effect upon us when exactly the same thing is said in two different dialects . . . is a question not of logical but of vital values,” he argues in “Braid Scots and the Sense of Smell” (1923). Unlike the “moral censorship” of English, “amoral” Braid Scots can tap into the synaesthetic fusion that occurs on an unconscious level when visual and auditory percepts “become, in ways which there is no terminology to describe, olfactory too,” and hence it does not matter if “Braid Scots [is] only a dialect of English” because “we [can] produce physical-spiritual effects by employing Braid Scots which we cannot encompass through standard English” (72-3). In “Music–Braid Scots Suggestions” (1923), MacDiarmid writes that the words “crune,” “deedle,” “lilt,” and “gell” indicate “a Scottish scale of sound-values and physico-psychical effects completely at variance with those of England” which can be reactivated through experiment with “the essence of deedling” (88-9).

     

    In order to lampoon Kailyard verse, MacDiarmid presumably proceeded by loading his parodic verse with those traits that are distinctly and distinctively Scottish.15 The tendentious motive was apparently superseded when the improvisatory compositional procedure of caricature, “to doodle and watch what happens,” began to form the poetry that confounded his mainstream prejudices about the limited literary range of Scots “dialect.”16 E.H. Gombrich writes that graphic caricaturists start from the generic norm and systematically vary the configuration of cues by loading (Ital., caricatura, act of loading) component parts and using their personal instinctive reactions to the expressive gestalts that result as a basis for further experiment (Art and Illusion 302). Though MacDiarmid underwent an attitudinal sea-change, the subsequent development of his poetics shows that he preserved the caricaturist’s procedure, “to doodle and deedle and observe what happens.” His freeform method reconnected him with the Mallarméan touchstone that poetry is “not an idea gradually shaping itself in words, but deriving entirely from words,” and enabled him to treat the entire range of Scots and English vocabulary as open to endless reordering and continuous variation rather than as automatically subordinate to the dictates of the Pale (Lucky Poet xxiii). MacDiarmid did not refer to his poetics as caricatural except implicitly, such as when he describes Synthetic Scots as “aggrandized Scots” or stresses the anti-decorous bias of art: “literature is the written expression of revolt against accepted things.”17 Caricature no longer serves solely as a measure of how the odds are loaded against “dialect,” but has potential for loosening and outwitting the Procrustean grip of standard English.

     

    Though MacDiarmid wrote many fine short lyrics in Synthetic Scots, published in Sangshaw (1925) and Penny Wheep (1926), he wanted to prove the versatility and range of his literary Creole by giving epic treatment to the hitherto “unfulfilled” uncanny-Scot tradition. His breakthrough occurred when the composer F. G. Scott suggested that he “write a poem about a drunk man looking at the thistle,” and MacDiarmid realized that as a “symbol of the miseries and grandeurs of the human fate in general” as well as one of Scottish nationality, it was the “[perfect] theme for a very long poem and a complicated poem” because “it was capable of all sorts of applications and extensions (Bold 181). His confidence that the topos was endlessly complicated and capable of infinite variation is likely to baffle the reader who would be turned off by the prospect of a 2684-line poem that contains no action except that of a drunk man looking at the national emblem.

     

    MacDiarmid seized upon the topic’s potential for upsetting stable categories of the “normal” and “bizarre,” however, by developing the antisyzygical point-of-view of the drunk. An “Author’s Note” to the 1926 edition of A Drunk Man Looks at the Thistle picks up on Smith’s observation that drunkenness can serve writers as a tongue-in-cheek device for justifying the sudden dislocations of Caledonian antisyzygies (23). “Drunkenness has a logic of its own,” MacDiarmid writes, and then counsels the teetotaler “to be chary . . . of such inadvertent reflections of their own sober minds” as they may catch in the “distorting mirror” of these pages (A Drunk Man 196).

     

    “Caledonian antisyzygies” resemble Deleuze’s “art of inclusive disjunctions,” which “follow[s] a rolling gait” that “makes the language as such stutter: an affective and intensive language, and no longer an affectation of the one who speaks” (110, 107). Great writers “carve out a nonpreexistent foreign language within [their] own language,” Deleuze writes, “they make the language take flight, they send it racing along a witch’s line, ceaselessly placing it in a state of disequilibrium, making it bifurcate and vary in each of its terms, following an incessant modulation . . . much as in music, where the minor mode refers to dynamic combinations in perpetual disequilibrium” (110, 109). Though Deleuze and Félix Guattari sharply distinguish their concept of “minorizing” from literary creolization, they note that creolization has the conjoined tendencies of “impoverishment” and “overload” with which “the so-called minor languages” are routinely faulted, namely the shedding of syntactical and lexical forms which allow one to sidestep a constant instead of attacking it head on, and a taste for paraphrasis and proliferation of shifting effects which bear witness to the unlocalized presence of an indirect discourse at the heart of every statement (102-4).18 In the guise of a “stuttering” drunken stream-of-consciousness, MacDiarmid incorporates the twin tendencies of caricature toward elision and overload into the structural rhythms of the sequence in order to activate the antisyzygical doodling and deedling that places normative standards and scales in “perpetual disequilibrium.” The overloading of caricature, then, may offer a way to work through the culture of insult that often builds up in defense against unwanted proximity.

     

    The speaker of A Drunk Man overtly dices with reader-expectation. “I amna fou’ sae muckle as tired–deid dune” (1), he declares in the opening line, establishing his bona fides by denying that the adulterated whiskey (“the stuffie’s no’ the real Mackay” [9]) has made him drunk. He adds parenthetically that a drunken stream-of-consciousness gratifies stereotypical images of Scotland and the canny Scot’s image of his reprobate brethren–“To prove my soul is Scots I maun begin/ Wi’ what’s still deemed Scots and the folk expect” (21-2)–which he can then “whummle” (25) by overwhelming readers with the intoxicating “logic” of drunkenness.19

     

    MacDiarmid styled A Drunk Man a “gallimaufry” (hodge-podge) in advance press-notices for want of a better generic label for the ambitious work he felt would fail unless it took “its place as a masterpiece–sui generis–one of the biggest things in the range of Scottish literature” (Bold 89). Peter McCarey contends that MacDiarmid draws on the Menippean tradition, very much as Bakhtin argues Dostoevski does, by fashioning the unclassifiable genre out of the “Dostoevskian debris of ideas” he found awaiting polyphonic treatment in Synthetic Scots.20 A Drunk Man hails an apostrophized Dostoevski as the avatar of a new epoch, “This Christ o’ the neist thoosand years” (1800), when the “canny Scot” shall give way to the uncanny one. Menippean satire, a genre of ultimate questions that mixes fantasy, slum naturalism, moral-psychological experimentation, and mysticism with genres like the diatribe and soliloquy, takes the topicality of the immediate and unfinalizable present as its starting point.21 Dostoevski “sought the sort of hero whose life would be concentrated on the pure function of gaining consciousness of himself and the world” because such a hero fuses the artistic dominant of becoming self-conscious with the characterological dominant of the represented person (Bakhtin, Problems 50).22 The task of gaining consciousness of himself necessarily absorbs an intellectual and/ or drunk who “dinna ken as muckle’s whaur I am/ Or hoo I’ve come to sprawl here ‘neth the mune” (95-6).23 The Dostoevskian hero’s discourse as “he looks at himself, as it were, in all the mirrors of other people’s consciousnesses” creates the “interior infinite” of “an individual carnival, marked by a vivid sense of isolation” and fearful and watchful secretiveness which has a residual generic kinship with the praise-abuse decrownings and fearless regenerative laughter of the carnival square (Bakhtin, Problems 53, 156-7 and passim).

     

    The thistle, skewed by moonlight and intoxication, is the “distorting mirror” that refracts back to the drunk man how he and his nation are perceived by proximate unfriendly others: “My ain soul looks me in the face, as it twere,/ And mair than my ain soul–my nation’s soul” (335-6).24 The speaker calls attention to his drunken or “loaded” state as he zeroes in on and magnifies one aspect of the thistle and then veers off in another direction as a new perception initiates a different associative tack. “There’s nocht sae sober as a man blin’ drunk,” the speaker confides, baiting the reader with A Drunk Man‘s constitutive antisyzygy about whether the fixity on the thistle attests to an unsteady grip on reality or to an intensive analytic sobriety (277). Though but a “bairn at thee I peer,” the drunk man declares that, like Dostoevski, he is a microcosm of his nation in all its contrariety, “For a’ that’s Scottish is in me,/ As a’ things Russian were in thee” and resolves “to pit in a concrete abstraction/ My country’s contrair qualities” (2014-18).25 “Speaking somewhat paradoxically,” Bakhtin writes, “one could say that it was not Dostoevski’s subjective memory, but the objective memory of the very genre in which he worked, that preserved the peculiar features of the ancient menippea” (Problems 121). In a similar vein, I contend that the poem provides a stereoscopic means for looking at national identity in the very aspect of its looked-at-ness and so preserves an “objective memory” of the Menippean subgenres of caricature and popular blazons.26

     

    The thistle is an abstract signifier of Scottish nationality, but these abstractions are woven into the concrete physiognomy of the plant “from which, and through which, and into which, ideas are constantly rushing.” An extended blazon to the emblematic icon of nationality, A Drunk Man ponders “the mystery of Scotland’s self-suppression” by subjecting the puzzling entelechy of the flora to minute scrutiny. The thistle’s status as the “devil’s vegetable” in European folk consciousness led to its adaptation into the genre of popular blazons, those popular expressions of praise-abuse for neighbors’ most pronounced “best” trait among which the Scotticism is classified. In “The Foreigner as Devil, Thistle, and Gadfly,” Felix Oinas tracks a pattern of name-calling that demonizes a despised and/or threatening neighbor by association with the hapless plant. Oinas writes that Finnish folk-names for thistles mean “Swede” and “Russian,” and the Russian folkname for them means “Tartar.” Anthropomorphizing the thistle with the name of an unwanted or malign alien and projecting their racial physiognomy onto the weed, a Russian peasant can simultaneously vent his antagonism by figuratively uprooting “Tartars” from the land and access a surcharge of zeal for an irksome task. The thistle-blazon humanizes the weed in order to demonize the human in a concrete proto-caricatural form that highlights the intimate link between name-calling and ascribing a disfigured human face to the ostracized party in order to profile them as beyond the pale. There is no evidence that MacDiarmid was consciously aware of the thistle-blazon described by Oinas, but A Drunk Man, which at one point likens the thistle’s “nervous shivering” to that of “a horse’s skin aneth a cleg [gadfly]” (1437-8), draws on an “objective memory” of the xenophobic folk custom.

     

    Signifying as it does a stubborn rootedness and a foreign trespass that invites extirpation, the thistle seems an anomalous choice of national emblem because it betrays an ambivalent or precarious sense of entitlement to domicile. The thistle became current as the Scottish emblem around the time the Rose was adopted by the Tudors, and first appeared on silver coins in 1470. In her appraisal of William Dunbar’s (c.1460-1530) innovative literary use of the insignia, Priscilla Bawcutt notes that Lorraine also adopted the thistle as a defiant emblem against incursions from Burgundy (100-03). The thistle’s message of deterrence appeals to ethnic groups who see themselves as withstanding a political takeover against the odds. The thistle also represents the “frontier feeling” of those who inhabit contested borderlands.

     

    The thistle’s catalytic effect on MacDiarmid’s comic genius owes much to his childhood experience of a living carnival, the annual Common Riding. Celebrated to this day in Langholm, the Common Riding evolved from an ancient custom of riding round the boundaries of the burgh’s common lands. In the ritual procession, children bearing heather brooms join standard bearers behind a leader who carries aloft a flagpole bearing a specially cultivated eight-foot-high thistle. The thistle-standard makes a resplendent spectacle in a MacDiarmid story based on the event: “tied to the tap o’ a flag pole it made a bonny sicht, wallopin’ a’ owre the life, an a hunner roses dancin’ in’t, a ferlie o’ purple and green” (Thistle 349).27 The “concretely sensuous language of carnival” epitomized by the presiding thistle evokes memories of “a free and familiar contact among people” which the young Grieve had otherwise seldom enjoyed (Bakhtin, Problems 123-4).28 An unalloyed joy is palpable in the verses recounting the Common Riding, which weave an accompanying traditional children’s chant into the ballad measure that supplies the cantus firmus of A Drunk Man:

     

    Drums in the walligate, pipes in the air,
    Come and hear the cryin’ o’ the Fair.

    A’ as it used to be, when I was a loon
    On Common-Ridin’ Day in the Muckle Toon.

    The bearer twirls the Bannock-and-Saut-Herrin’,
    The Croon o’ Roses through the lift is farin’,

    The aucht-fit thistle wallops on hie;
    In heather besoms a’ the hills gang by. (455-62)29

     

    Swept up in the “jolly relativity” of the communal chorus, the drunk man happily recollects his wife Jean “as she was on her wedding day” and is then seamlessly transported into the heroic position of thistle-carrier, as the narrative segues to one of the sequence’s few full-blown paeans to the thistle (476):

     

    Nerves in stounds o’ delight,
    Muscles in pride o’ power,
    Bluid as wi’ roses dight
    Life’s toppin’ pinnacles owre,
    The thistle yet’ll unite
    Man and the Infinite! (477-82)30

     

    The overwhelmingly positive connotations of the thistle’s “language of carnival” is counterpointed by the pejoration of the thistle in Biblical allegory. The thistle is figured in Genesis as the blighted fruit of expulsion from Eden: “cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy life; thorns also and thistles shall it bring forth to thee” (3:17-8). The Scottish-Renaissance objective announced in the manifesto-issue of Scottish Chapbook (Aug 1922), “to meddle wi’ the Thistle and pick the figs,” incongruously gestures toward the futility of the task by alluding to Matthew 7:16, “Ye shall know them by their fruits. Do men gather grapes of thorns, or figs of thistles?” Biblical allegory receives extensive metaphorical play in the sequence where the thistle signifies sinfulness and shriveled potential as well as the pathos (and bathos) of wrongful scapegoating. The thistle’s reprobate status has a decidedly Calvinist tincture in A Drunk Man:

     

    O stranglin rictus, sterile spasm,
    Thou stricture in the groins o’ licht
    Thou ootrie gangrel frae the wilds
    O’ chaos fenced frae Eden yet. (1294-5)31

     

    Manichean allegory facilitates the proliferation of oppositional pairs along a damnation/salvation axis–wilderness/civilization; sterile/fertile; evil/good; grotesque/beautiful–which helps to “fix” the construction of the thistle as “other” (see JanMohamed 4 and passim). The wide currency of the commonplace that the thistle has a reprobate “character” illustrates the peculiarly bogus yet unfalsifiable nature of stereotypes noted by Leerssen.

     

    MacDiarmid’s labeling of A Drunk Man as “my flytin’ and sclatrie” announces that his blazon to the quarrel between the “grugous thistle” and “o’er sonsy rose” is a palinode to “The Thrissill and the Rois” by way of Dunbar’s “The Flyting of Dunbar and Kennedy,” two works that also explore the ability of bordering rival cultures to accommodate each other.32 William Dunbar’s 1503 epithalamium for the marriage of James IV to Margaret Tudor, later entitled “The Thrissill and the Rois” by Allan Ramsay, celebrates a complementarity between the warlike yet protective thistle and the beautiful rose which became a staple of Anglo-Scottish diplomacy. In The Flyting of Dunbar and Kennedie (c.1500), Dunbar taunts a Gaelic- and English-speaking Highlander, Walter Kennedy, with a scatological pun on Erse (from Erische, Irish) that became a staple slur: “Ane Lawland ers wald mak a bettir nois” (Lowland speech would make a better noise; line 56). The “low” sclatrie and mooning gesture are essential to the sophisticated punning that belittles his antagonist’s mother-tongue as a (weakly enunciated) fart-expletive. The apostrophized “Grugous thistle, to my een” (2347) and “quarrel wi’ th’ owre sonsy rose” (2372) derive from Gaelic loanwords (grùgach, scowling; and sonas, prosperity), which, though MacDiarmid may have been unaware of their Gaelic etymons, lend satiric weight to his use of them.33 The habit of using a pejorative epithet for affectionate praise is rife in colloquial speech. The frequent recourse in Scots to the diminutive “ie” for terms of endearment and/or derision in the vernacular is a striking example of the “ambiguous praise-abuse” of oral blazons. The edginess created by the fine line between belittlement and exaltation is blunted when spoken blazons are transposed into print; thus literary language must find alternative means to represent the ambivalence of neighborly rivalries.34

     

    The contrastive paths of Dunbar’s “Inglishe” into English and Scots can be seen in how the motto emblazoned on the thistle, “nemo me impune lacessit” was subsequently translated into markedly different registers in the two coeval dialects. The English motto, “no one assails me unharmed,” issues a universal caution to potential aggressors by conveying the threat of retaliation through the measured tones of understated menace. The all-purpose concision of the Latin and English mottoes is highly reproducible, suited to imprinting on coins and dissemination as a national slogan in international diplomatic channels. The motto in Scots, “wha daur meddle wi’ me,” is cast by contrast in the form of a rejoinder to an enemy within earshot who is at once overbearing and conspicuously anonymous. The fragment from an ongoing altercation has the stentorian tones of an already injured “me” whose rage is edged with paranoia. The oscillation between declarative, interrogative, and exclamatory speech-acts makes the “wha daur” rejoinder impossible to punctuate. Aggrieved without establishing either the grounds or source of grievance, the loud rejoinder is too “charged” to circulate within the stable decorum of print-media and diplomatic protocol. The English and Scots mottoes are mutually intelligible and semantically contiguous, but the social configurations of their expressive cues are incompatible and disjunctive. If one envisions each motto on identical thistle-emblazoned coins and compares their profile, the contrastive “faces” of the two idioms become apparent. The equilibrium of the official motto in English has a neutralizing, normative effect which makes the thistle seem as commonplace as any other emblematic flora, whereas the bellicose motto in Scots sets “the devil’s vegetable” huffing and bristling before our eyes. If the Scots rejoinder seems to skid and waver without the traction of a stable syntax, its errancy has an open-ended plasticity which makes the Latinate English motto seem flat and devitalized by comparison.

     

    An earnest botanical dissection of an abstract emblem of nationality is no more bizarre, from the “perpetual disequilibrium” of an antisyzygical point-of-view, than the whimsy of allowing the profile of the thistle to determine the trajectory of philosophical inquiry. The long vigil with the thistle has the intense earnestness of the soul-searching doppelgänger and the hyperbolic comedy of topsy-turvy clowning. A Drunk Man‘s dicings with expectation and its variations upon customary scales promote the antisyzygical outlook that what is judged incongruous or jarringly unfunny by the mainstream today may be considered heimlich or comic in other contexts. The antisyzygical segues between uncanny and comic registers are reinforced on a linguistic level by two key strata in A Drunk Man‘s Synthetic Scots: an “enigmatic” idiom, based on the estrangement (ostranie) of the Romantic grotesque, which restores uncanny complexity to a disparaged vernacular; and a “rogue” idiom, derived from the popular grotesque of late-medieval folk genres, which affronts bourgeois gentility. The “ambiguous praise-abuse” of the national/alien thistle becomes a means of blazoning the comic-uncanny virtuosity of Scots.

     

    The drunk man explores the mysterious entelechy of “the language that but sparely flooers/ And maistly gangs to weed” (1219-20) by pondering the intermingling of the base and the beautiful that “A Theory of Scots Letters” identifies as a special province of Scottish genius (Thistle 131).

     

    The craft that hit upon the reishlin’ stalk,
    Wi’ts gausty leafs and a’ its datchie jags,
    And spired it syne in seely flooers to brak
    Like sudden lauchter owre its fousome rags
    Jouks me, sardonic lover, in the routh
    O’ contrairies that jostle in this dumfoondrin’ growth. (1107-12)35

     

    The assumption that the thistle’s purpose lies in disclosing its “routh o’ contraries” to the beholder betrays an inability “to imagine the ‘other’ as anything but a [cryptic] message pertaining to the state of his own soul” (Manning 15).36 The solipsistic self-regard is confounded by the contrastive lack of affectation in the beheld object: “For who o’s ha’e the thistle’s poo’er/ To see we’re worthless and believe ‘t?” (1413-4).37 The thistle’s freedom from pretension delivers momentary insight into the absolute fallenness of humanity, and the speaker envisions the thistle spilling over into the philosophical laughter of the Baudelairean “absolute comic.” Baudelaire defines the “true subject” of caricature as “the introduction of this indefinable element of beauty in works intended to represent his [moral and physical] ugliness to man; [a]nd what is no less mysterious is that this lamentable spectacle excites in him an undying and incorrigible mirth” (147).

     

    The returning gaze of the thistle mocks and confounds the drunk man’s sense of personal embodiment to such an extent that he questions whether he can distinguish between them:

     

    Is it the munelicht or a leprosy
    That spreids aboot me; and a thistle
    Or my ain skeleton through wha’s bare banes
    A fiendish wund’s begood to whistle? (369-72)38

     

    The resounding reply is immediate diabolical laughter, where the man, the thistle, and the devil become a composite “my face” that splits to reveal everything humankind keeps under wraps:

     

    The devil’s lauchter has a hwyl like this.
    My face has flown open like a lid
    –And gibberin’ on the hillside there
    Is a’ humanity sae lang has hid! (373-6)

     

    The infernal hwyl is glossed by MacDiarmid as “ululation,” connoting a reverberating pure sound that spans the gamut of triumph, grief, despair, degradation, defiance, revenge, and mockery. The italicized “hwyl” provokes a muscular response to the unpronounceable Welsh loanword. The choice of a Welsh shibboleth (the absence of vowels is foreign to English, Scots, and Gaelic orthography) sets the barbarous “hwyl” apart as though it were too hot to handle, and offloads it onto a neighboring language without relinquishing a remote Celtic kinship with it. The “profound, primitive, and axiomatic” laughter of the Baudelairean “absolute comic” (157) in this scene is a Babelized gibbering that sunders the connections between speaker and addressee, signifying sound and print signifier. As well as bringing a ramifying carnivalistic aesthetic into play (much as McCarey argues the Dostoevskian loanword “nadryv” [tragical crack, line 870] does), the shibboleth highlights the issues of translation and reception with which A Drunk Man is centrally engaged.

     

    A Drunk Man opens with the speaker inveighing against the Burns cult, a diatribe which reactivates international readers’ latent familiarity with Scots by introducing the stereotype he intends to “whummle.” He then recalls a vision of “a silken leddy” he had had in the pub earlier that evening by reciting an inserted verse-translation (italicized and footnoted as “from the Russian of Alexander Blok”). The interpolation creates an illusion of direct interlingual contact between Russian and Scots that can withstand and coexist with readers’ correct surmise that the drunk man speaks on MacDiarmid’s behalf when he confesses that “I ken nae Russian and you [Dostoevski] ken nae Scots” (line 2224). MacDiarmid’s retranslation into Scots of Babette Deutsch and Avrahm Yarmolinsky’s co-translation of Blok’s “Neznakomka” (“The Unknown Woman”) and “Predchuvstvuya tebya” (“I have foreknown you”) belongs to that burgeoning sub-category of translations whose ambiguous provenance is flagged by such equivocal prepositional markers as “after x” or “based on y” in a tacit pact to leave open to conjecture whether the text is a direct interlingual translation from the stated source or an intralingual retranslation of intermediary translations.

     

    MacDiarmid’s re-translation, aimed through his image of the Russian source-culture and an oppositional image of the intermediary English target-language, substitutes whisky for wine, inserts a parenthetical aside about the drunk man’s Penelope-like spouse, and assigns a returning gaze to the blazoned silken leddy on the basis of two muted references to the “eyes” of the Blok hero’s doppelgänger and of the azure sea. Aside from these semantic modifications and the Scots diction, he stays close to the Deutsch and Yarmolinsky translation from which I quote below by way of contrast with the MacDiarmid version that follows:

     

    But every evening, strange, immutable,
    (Is it a dream no waking proves?)
    As to a rendezvous inscrutable
    A silken lady darkly moves. (Qtd. in Buthlay 19)

     

    But ilka evenin’ fey and fremt
    (Is it a dream nae wauk’nin’ proves?)
    As to a trystin’-place undreamt,
    A silken leddy darkly moves. (193-6)

     

    The natural assurance in conveying an enigmatic register is indebted to the rich lexis pertaining to the uncanny in Scots. The “English” words “uncanny,” “canny,” “eerie” and “fey” (fated) are actually Scots loanwords, and Scots also has many other less familiar words including “fremt” (estranged), “oorie” (weird), “wanchancy” (unfortunate), and “drumlie” (troubled). The success of “fey and fremt/. . . undreamt” over “strange, immutable/. . . inscrutable” is reinforced by the way colloquialized aureate diction, “trystin’-place” and “silken leddy,” seems a plausibly unaffected idiom for a speaker with ready access to a trove of romantic ballads. The aura of ease with romance and enigma creates mixed familiarizing and defamiliarizing effects which have the paradoxical result of making MacDiarmid’s version seem more “true” than the intermediary source which is relegated by contrast to “crib” status. Russian critic D.S. Mirsky’s claim that MacDiarmid “produced ‘the only real re-creations of Russian poetry’ in any form of English” seems counterintuitive (A Drunken Man viii, emphasis added), because one wouldn’t expect a retranslated translation by someone who doesn’t know Russian to be true to the original. MacDiarmid’s success may be due to the way it minorizes the intermediary text with specific sub-community registers that are otherwise lost in translating a polyphonic literary idiom into a dominant vehicular language. The truth-effect depends on how the play between the English crib and its Scots retranslation objectifies those sides of Scots and English that pertain to its “specific linguistic habitus . . . which makes its worldview ultimately untranslateable, the style of the language in the totality” (Bakhtin, Dialogic 62). As well as objectifying a vein of uncanniness in Scots, MacDiarmid’s retranslation brings about a triangulated confrontation between the English and Scots versions before an imagined “internationalist” bar of Communist-Russian opinion.

     

    MacDiarmid lends the man-thistle body-in-the-act-of-becoming an inspired hermaphroditic touch when he names the thistle-florets “roses” and thereby unsettles the antinomies between male and female, the grotesque and the beautiful, and Scotland and England. The conceit of “a rose loupin’ out” of the thistle’s “scrunts of blooms” structures the ballad of the crucified rose about the General Strike of May 1926 (1119-1218). The news of the union leaders’ humiliating settlement broke when MacDiarmid (an active labor organizer in his capacity as the only Socialist town councilor in Montrose) was addressing a mass meeting of railwaymen, and “most of them burst into tears–and I am not ashamed to say I did too . . . it was one of the most moving experiences I ever had . . . weeping like children . . . because we knew we had had it” (Bold 184). Very much in the spirit of menippea, “the journalistic genre of antiquity” (Bakhtin, Dialogic 118), MacDiarmid wrote that he was incorporating the ballad (“which I think will rank as one of the most passionate cris-de-coeur in contemporary literature”) into the then advanced work-in-progress, though there is no overt reference in the allegorical ballad to the contemporary events that inspired it:

     

    A rose loupt oot and grew, until
    It was ten times the size
    O’ ony rose the thistle afore
    Had heistit to the skies.

     

     

    And still it grew until it seemed
    The haill braid earth had turned
    A reid reid rose that in the lift
    Like a ball o’ fire burned.

     

     

    Syne the rose shrivelled suddenly
    As a balloon is burst;
    The thistle was a ghaistly stick,
    As gin it had been curst.

     

     

    And still the idiot nails itsel’
    To its ain crucifix
    While here a rose and there a rose
    Jaups oot abune the pricks. (1155-8; 1163-6;1171-4; 1203-6)39

     

    The utopian aspiration, camaraderie, and gathering momentum of mass political action is conveyed by the semaphoric language of the carnival square as a new body-politic almost emerges out of the old only to be destroyed anew by reactionary forces. The fact that a thistle “heisted to the skies” is invoked to celebrate a near-triumph by British labor activists rather than by Scottish nationalists may seem paradoxical, but it is less an index of the historical contingencies of 1926 or of socialism trumping nationalism for MacDiarmid than of how A Drunk Man‘s caricatural poetics is more in tune with mass-protest by the proletariat than with constitutional nationalism. The ballad measure and the symbolic freight of the thistle enable MacDiarmid to plumb a generic memory of the popular blazon that infuses the cri-de-coeur with a profound sense of human solidarity and regenerative idealism.

     

    MacDiarmid’s poetics suggests, then, that the nature of caricature is twofold: it is an expressionist mode of combinatorial doodling and deedling that releases the poet from the reified biases of diglossia as well as a poetics of indignation that bridles against the complex sociolinguistic and psycholinguistic realities that profile a lesser-used language as anachronistic, restrictive, and marginal. The conjoined disjunctive tendencies largely hold each other in check, so that MacDiarmid’s caricatural poetics both does not react to and reacts against the Anglocentrism of Scottish letters. As we’ve seen, a similar argument may be made for the constructive nature of blazon, flyting, and antisyzygy. The subordination of one’s neighbor’s language is part and parcel of the division of the neighbor’s imageme into intimate and hostile, familiar and uncanny aspects that may be recomposed in a literary Creole, with its greater tolerance for ambivalence. In contexts of colonial diglossia, conscious and subliminal memories of linguicism survive in writers’ minds, in the stuff of their art (language itself, and speech- and literary-genres), and in the social fabric and cultural unconscious of their speech-communities. MacDiarmid’s poetry is exemplary because it illustrates that one may remain politically partisan and aesthetically independent while refashioning a diglossic heritage into art.

    Notes

     

    1. See Murison, The Guid Scots Tongue, Jones, and McClure, Language, Poetry and Nationhood. For a pithy and insightful analysis of the ambiguous status of Scots, see McArthur 138-159.

     

    2. On diglossia, a sociolinguistic concept, see Calvet 26-40 and Grillo 78-83.

     

    3. Competence in the credentialed speech functions as “linguistic capital” in the “linguistic market” that potentially earns the speaker a “profit of distinction” on each occasion of social exchange. See Bourdieu 55 and passim.

     

    4. See Bourdieu 62 on the competence/recognition gap.

     

    5. See Mugglestone 208-57 on literature and “the literate speaker.” On “the orthography of the uneducated,” see Williams 222.

     

    6. Ferguson cites Jamieson’s failure to note the obvious Gaelic provenance of “glen” as indicative of his “disingenuous approach” (260).

     

    7. MacDiarmid received a copy of Nairn’s book shortly before his death and replied to Nairn commending “the only serious work on Scottish nationalism” (Letters 889).

     

    8. On T.S. Eliot’s review, see Crawford 254.

     

    9. David Reid describes “Urquhart’s writing [as] a freak compound of all that Scottish prose after Knox is not” in Grant and Murison 195.

     

    10. For my ideas about the stereotype, I am indebted to Leerssen; see also Bhabha 66-84.

     

    11. Translator’s note: noo, now; A’e, one; o’, of; tither, the other; fou, drunk; owre lang, over long; wi’ with; fier comme un Ecossais, proud as a Scot. Here and throughout, I cite by line number from Kenneth Buthlay’s excellent annotated edition to which I am indebted.

     

    12. Leerssen’s point about the unfalsifiability and ambivalence of stereotypes is illustrated by how the refrain, perhaps because of the translational pun on fier/fiery, is variously translated by Buthlay as “touchy as a Scot” and by MacDiarmid as “free-spirited as a Scot.”

     

    13. For an overview of the controversial term “Creole,” see Lang. Lang asserts that “Creoles originate when one or more overlapping vernaculars create a mother tongue which never existed before”; Synthetic Scots corresponds to what he terms a “nuclear Creole” (2, 144). For useful comparative discussions of Scots as an English Creole, see McArthur 7-10 and Görlach. McArthur compares a passage from the King James Bible with both William Lorimer’s landmark New Testament in Scots (Penguin 1985) and the Tok Pisin Nupela Testamen (Canberra and Port-Moresby, Papua-New Guinea, 1969).

     

    14. David Murison, the editor of C-Z in the ten-volume Scottish National Dictionary, observes that MacDiarmid’s conversation was almost entirely in English and “to questions about where he got this or that word he most frequently referred one to a book” (“Language Problem” 86). His Synthetic Scots “sticks cautiously to Jamieson” in practice and, notwithstanding the “Back to Dunbar!” manifesto and the oft-touted model of Landsmaal’s construction from Old Norse, “there is surprisingly little Middle Scots in his work” (88, 95). Though his selection procedure was often programmatic (alliterative passages, and even whole lyrics, are composed out of proximate items in Jamieson), “his touch is remarkably sure” (96). See Murison, “The Language Problem” 93-9. See also Herbert 26-41.

     

    15. Such “distinctly and distinctively” traits are what Leerssen calls “the effets de typique” on which stereotyping is based (283).

     

    16. “To doodle and watch what happens” is Gombrich’s phrase.

     

    17. On “aggrandized” Scots, see A Lap of Honour; the latter phrase is Thomas Hardy’s, and MacDiarmid invokes it in the 1923 “Theory of Scots Letters” (Thistle 129), the 1931 “The Caledonian Antisyzygy” (Thistle 63) and in the 1977 “Valedictory” where he says it “sums up my whole position” (294).

     

    18. Deleuze and Guattari’s concept of an unfinalizable “indirect discourse” is indebted to Bakhtin; see endnotes 5 and 10, 523-4. The correspondence between antisyzygies, Bakhtin’s concept of “hybridization,” and Deleuze and Guattari’s concept of “minorization,” is suggested by MacDiarmid’s comment in “English Ascendancy in British Literature” on “the vast amount of linguistic experimentation that has been going on in recent Russian literature, with the progressive de-Frenchification and de-Latinisation of the Russian tongue, the use of skaz (the reproduction of accentual peculiarities) and zaumny (cross-sense, as in Lewis Carroll)” (120). To illustrate his concept of disjunctive synthesis, Deleuze cites Lewis Carroll on portmanteau words: “If your thoughts incline ever so little towards ‘fuming,’ you will say ‘fuming-furious’; if they turn, even by a hair’s breadth, towards ‘furious,’ you will say ‘furious-fuming’; but if you have that rarest of gifts, a perfectly balanced mind, you will say ‘frumious’” (46).

     

    19. Translator’s note: Amna fou, am not drunk; sae, so; muckle, much; deid dune, dead done, done in; stuffie, stuff; no’, not; maun, must; the real Mackay, colloquialism of unknown origin (perhaps connected with the Reay Mackay clan of Sutherland) for “the real thing,” “the genuine article” (G. Mackay & Co distillers adopted the proverbial phrase as an advertising slogan in 1870); whummle, overturn.

     

    20. Quoting Thistle 131. See McCarey 17-27. For a Bakhtinian approach to MacDiarmid’s work, see also Crawford.

     

    21. On the generic elements of the menippea, see Bakhtin, Problems 114-20.

     

    22. Though MacDiarmid arguably falls short of Dostoevski’s “radically new . . . integral authorial position” with regard to the drunk man, he (like the German Expressionists) takes the “artistic dominant of self-consciousness” as a goal (Bakhtin, Problems 56-7, 54).

     

    23. Translator’s note: dinna ken, don’t know; as muckle’s, as much as; whaur, where; hoo, how; ‘neth, beneath.

     

    24. Translator’s note: Ain, own; twere, it were; mair, more.

     

    25. Translator’s note: nocht, naught; sae, so; blin’, blind; bairn, child; a’, all; pit, put.

     

    26. Frye writes of the larger class of Menippean satire into which the sub-genre of caricature falls that it “relies on the free play of intellectual fancy and the kind of humorous observation that produces caricature” (310).

     

    27. Translator’s note: tap, top; bonny sicht, beautiful sight; hunner, hundred; ferlie, marvel.

     

    28. In his autobiography, Lucky Poet, MacDiarmid writes that the Grieves were “jeered at a little,” making him “permanently incapable of ‘going with the herd’” (77). Gish writes that Valda Grieve recalled him as one of the loneliest people she ever met, one who shut himself off from others: “He just had this thing within himself. He was afraid of anything personal’” (8).

     

    29. Translator’s note: Drums in the Walligate, from a children’s chant (“Ra-a-rae, the nicht afore the Fair! The drum’s i’ the Walligate, the pipes i’ the air); the cryin’ o’ the Fair, the proclamation of the Fair; loon, boy; the Muckle Toon, the affectionate name by which Langholm is known, lit. the big town; the Bannock-and-Saut-Herrin’, a barley-bannock and salted herring nailed to a wooden dish on a standard that signifies the Duke of Buccleuch’s rights in the mills and fisheries; Croon o’ Roses, a floral crown on a standard; lift, sky; wallops, dances; hie, high; heather besoms, children were rewarded with new threepenny bits for carrying heather brooms in the procession.

     

    30. Translator’s note: stounds, throbs; bluid, blood; dight, arrayed.

     

    31. Translator’s note: the groins o’ licht, see line 1265, “As ’twere the hinderpairts o’ God”; ootrie, foreign, outré; gangrel, vagrant; frae, from.

     

    32. Bawcutt writes that Dunbar’s “art is the art of the caricaturist” (239-40).

     

    33. Jamieson’s Etymological Dictionary cites the Gaelic etymon for “sonsy” but not for “grugous,” but MacDiarmid may not have consulted the dictionary. “Grugous” is glossed as “grim” in Jamieson’s dictionary; as “grim, grisly” in A Drunk Man; and as “ugly” in Complete Poems glossary.

     

    34. Translator’s note: The internalized dualism of praise-abuse is mirrored on the thistle’s “grugous” visage, where a smile may overtake a scowl and vice versa. “Grugous” has an antisyzygical gruesome/gorgeous ring to Anglophone ears, a semantic working-together-at-cross-purposes that sets in motion the ramifying “zig-zag of contradictions” of the intoxicating “logic” of drunkenness.

     

    35. Translator’s note: reishlin’, rustling; wi’ts, with its; gausty, ghastly; datchie, hidden; spired ti, made it soar; syne, then; seely, happy; fousome, disgusting; jouks, evades; routh, abundance.

     

    36. Manning attributes this tendency to Calvinism.

     

    37. Translator’s note: who o’s ha’e, whom of us have; poo’er, power.

     

    38. Translator’s note: wha’s, whose; banes, bones; wund’s, wind has; begood, begun.

     

    39. Translator’s note: loupt, leapt; oot, out; O ony, of any; afore, before; heisted, hoisted; haill, whole; braid, broad; reid, red; lift, sky; syne, then; gin, if; curst, cursed; ain, own; jaups, splashes.

     

    Works Cited

     

    • Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. Trans. and ed. Caryl Emerson and Michael Holquist. Austin: U of Texas P, 1981.
    • —. Problems of Dostoevsky’s Poetics. Trans. and ed. Caryl Emerson. Minneapolis: U of Minnesota P, 1984.
    • —. Speech Genres and Other Late Essays. Trans. Vern McGee. Ed. Caryl Emerson and Michael Holquist. Austin: U of Texas P, 1986.
    • Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. and ed. Jonathan Mayne. London: Phaidon, 1965.
    • Bawcutt, Priscilla J. Dunbar the Makar. Oxford: Clarendon, 1992.
    • Bhabha, Homi. The Location of Culture. New York: Routledge, 1994.
    • Bold, Alan. MacDiarmid: Christopher Murray Grieve: A Critical Biography. London: John Murray, 1988.
    • Bourdieu, Pierre. Language and Symbolic Power. Trans. Gino Raymond and Matthew Adamson. Cambridge: Harvard UP, 1991.
    • Buthlay, Kenneth. “An Awkward Squad.” McClure, Scotland and the Lowland Tongue 149-169.
    • Calvet, Louis-Jean. Language Wars and Linguistic Politics. Trans. Michel Petheran. Cambridge: Oxford UP, 1998.
    • Crawford, Robert. Devolving English Literature. Oxford: Clarendon, 1992.
    • Deleuze, Gilles. Essays Critical and Theoretical. Trans. Daniel W. Smith and Michael A. Greco. Minneapolis: U of Minnesota P, 1997.
    • —, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: U of Minnesota P, 1987.
    • Ferguson, William. The Identity of the Scottish Nation: An Historic Quest. Edinburgh: Edinburgh UP, 1998.
    • Gish, Nancy. Hugh MacDiarmid: Man and Poet. London: Macmillan, 1984.
    • Gombrich, E.H. Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton: Princeton UP, 1960.
    • Görlach, Manfred. “Jamaica and Scotland–Bilingual or Bidialectal?” Englishes: Studies in Varieties of English, 1984-1988. Philadelphia: John Benjamins, 1991. 69-89.
    • Grillo, Ralph. Dominant Languages: Language and Hierarchy in Britain and France. Cambridge: Cambridge UP, 1989.
    • Herbert, W.N. To Circumjack MacDiarmid. Oxford: Clarendon, 1992.
    • Hume, David. The Philosophical Works of David Hume. Vol. 3. Boston: Little, Brown, 1854.
    • Jamieson, John, John Longmuir, and David Donaldson. An Etymological Dictionary of the Scottish Language. Paisley, Scotland: Alexander Gardner, 1879-82.
    • JanMohamed, Abdul. Manichean Aesthetics. Amherst: U of Massachusetts P, 1983.
    • Jones, Charles. The Edinburgh History of the Scots Language. Edinburgh: Edinburgh UP, 1997.
    • Lang, George. Entwisted Tongues: Comparative Creole Literatures. Atlanta: Rodopi, 2000.
    • Leerssen, Joep. “The Rhetoric of National Character: A Programmatic Survey.” Poetics Today 21.2 (Summer 2000): 267-92.
    • MacDiarmid, Hugh. “Braid Scots and the Sense of Smell.” MacDiarmid, The Raucle Tongue 72-74.
    • —. “Burns and Baudelaire.” MacDiarmid, The Raucle Tongue 68-72.
    • —. “The Caledonian Antisyzygy and the Gaelic Idea.” MacDiarmid, Selected Essays 56-74.
    • —. A Drunk Man Looks at the Thistle. Ed. Kenneth Buthlay. Edinburgh: Scottish Academic, 1987.
    • —. A Lap of Honour. London: McGibbon and Kee, 1967.
    • —. The Letters of Hugh MacDiarmid. Ed. Alan Bold. London: Hamish Hamilton, 1984.
    • —. Lucky Poet. Ed. Alan Riach. Manchester: Carcanet, 1984.
    • —. “Music–Braid Scots Suggestions.” MacDiarmid, The Raucle Tongue 88-89.
    • —. The Raucle Tongue: Hitherto Uncollected Prose. Eds. Angus Calder, Glen Murray, and Alan Riach. Vol. 1. Manchester: Carcanet, 1998.
    • —. “Robert Burns: His Influence.” MacDiarmid, Selected Essays 177-182.
    • —. Selected Essays of Hugh MacDiarmid. Ed. Duncan Glen. London: Jonathan Cape, 1969.
    • —. “A Theory of Scots Letters.” MacDiarmid, The Thistle Rises 125-141.
    • —. The Thistle Rises: An Anthology of Poetry and Prose. Ed. Alan Bold. London: Hamish Hamilton, 1984.
    • —. The Uncanny Scot: Selected Prose. Ed. Kenneth Buthlay. London: MacGibbon & Kee, 1998.
    • —. “Valedictory.” MacDiarmid, The Thistle Rises 286-294.
    • Manning, Susan. The Puritan-Provincial Vision: Scottish and American Literature in the Nineteenth Century. Cambridge: Cambridge UP, 1990.
    • McArthur, Tom. The English Languages. Cambridge: Cambridge UP, 1998.
    • McCarey, Peter. Hugh MacDiarmid and the Russians. Edinburgh: Scottish Academic, 1987.
    • McClure, J. Derrick. Language, Poetry and Nationhood: Scots as a Poetic Language from 1878 to the Present. East Lothian: Tuckwell, 2000.
    • —. Scotland and the Lowland Tongue. Aberdeen: Aberdeen UP, 1983.
    • Mugglestone, Lynda. Talking Proper: The Rise of Accent as Social Symbol. Oxford: Clarendon, 1995.
    • Murison, David. The Guid Scots Tongue. Edinburgh: Blackwood, 1977.
    • —. “The Language Problem in Hugh MacDiarmid’s Work.” The Age of MacDiarmid. Eds. P. H. Scott & A. C. Davis. Edinburgh: Mainstream, 1980.
    • Nairn, Tom. The Break-Up of Britain. London: New Left, 1977.
    • Oinas, Felix. “The Foreigner as Devil, Thistle, and Gadfly.” Proverbium 15 (1970): 89-91.
    • Pratt, Mary Louise. “Arts of the Contact Zone.” Professing in the Contact Zone: Bringing Theory and Practice Together. Ed. Janice M. Wolff. Urbana: NCTE, 2002. 1-18.
    • Smith, G. Gregory. Scottish Literature: Character and Influence. London: Macmillan, 1919.
    • Wechsler, Judith. “Speaking the Desperate Things: A Conversation with Edward Koren.” Art Journal 43 (Winter 1983): 381-5.
    • Williams, Raymond. The Long Revolution. New York: Columbia UP, 1961.

     

  • “Never Again”: The Ethics of the Neighbor and the Logic of Genocide

    Robert Meister

    Department of Politics
    University of California, Santa Cruz
    meister@ucsc.edu

    Proximity and Ethics

     

    Since the fall of communism, there has been a growing literature on the responsibility of the “world community” to “never again” stand by while neighbors commit atrocities against neighbors (Power, “Never Again”).1 This literature has yet to be reformulated as a comprehensive political theory of the recent fin de siècle, but it is already clear that such a theory would base a global politics of human rights on an ethical commitment to view local cruelties, and especially the infliction of physical suffering, as an uncontestable evil, the prevention of which can justify external intervention in ways that earlier forms of imperialism did not. The interstate system still exists, of course, and is supported by a United Nations charter that prohibits unilateral invasions of one state by another. But from the standpoint of the advancing theory of humanitarian intervention this is now merely a practical obstacle, making it advisable (but not essential) for a state intervening in another on purely ethical grounds to claim the support of a multilateral coalition as a proxy for the world community itself. At the level of theory, if not yet of practice, the subject matter of global politics is already focused on humanitarian intervention to stop atrocities committed at the local level. Thus the primacy of the global over the local (which was once the basis of political imperialism) is now ostensibly humanized and offset by the primacy of the ethical over the political: an ethics that concerns the cruelties that groups inflict on others in close proximity, and a politics surrounding the responsibility of third parties to intervene in response to those cruelties.

     

    I am not here making the point that such humanitarian interventions can involve violence committed at a distance, though they often do. The intervention to prevent the proximate violence by Kosovar Serbs against their Albanian neighbors consisted largely of the NATO bombing of Serbian cities. Both the ethnic cleansing of neighbors and the aerial bombardment of cities are prima facie violations of modern humanitarian law, and both are the subject of separate trials now underway in The Hague. These trials demonstrate the twentieth-century paradox that bombing is both the quintessential means of intervention to stop barbarity at a local level and the paradigm of barbarity inflicted at a distance (see Lindqvist, A History of Bombing).

     

    My topic is not whether the “world community” should have (at least) bombed Auschwitz or Rwanda when the genocides there became known, but rather the conception of ethics and politics that underlies such dilemmas. According to this conception, bombing (like foreign occupation) can be a justifiable form of political intervention by third parties when preceded by gross ethical barbarities occurring among neighbors. The ethical condemnation of atrocity, if not the atrocity itself, must here precede political intervention. Contemporary humanitarian practice requires such a sequence because it is based on the premise that, in theory too, ethics comes before politics. The opposing position–putting politics before ethics–is now commonly derided as the error shared by right and left throughout the twentieth century, an era of revolution and counterrevolution in which individuals were exquisitely sensitive to the suffering of their comrades and insensitive to pain inflicted on their foes (see Glover and Rummel). This is what politics is, Carl Schmitt argues–a selective antidote to humanitarian pathos that makes it ultimately possible to kill (and die) for the sake of countrymen or comrades (Concept of the Political 71). The emergent literature on human rights implicitly shares Schmitt’s “concept of the political,” and for this very reason gives primacy to the ethical as a refusal to withhold one’s empathy selectively on political grounds.

     

    The primacy of ethics over politics implicitly presupposes, however, specific limitations on the field of ethics itself. Viewed broadly, the raw material of ethics concerns languages and bodies in the sense that these are what matter from the ethical perspective when considering questions of agency and choice.2 Ethical discussion of languages (and cultural systems that resemble languages) are now commonly expected to focus on the problem of difference, and to prefer a baseline cultural relativism to the culturally imperialist danger of false universals. In ethical discussion of bodies–and especially bodies that suffer–the greater danger is now widely seen to be false relativism (Lévinas, “Useless Suffering” 99). A principled resistance to moral relativism when it comes to the suffering of bodies is, thus, the specific ethical view that underlies the present-day politics of human rights. For proponents of this politics, the suffering body is the ultimate wellspring of moral value, the response to bodily suffering the ultimate test of moral responsibility. “The supreme ordeal of the will is not death, but suffering,” said the French philosopher Emmanuel Lévinas, who took the primacy of ethics to its extreme by putting it ahead, even, of ontology and God (the world itself and its Creator) (Totality and Infinity 239). He argued that the suffering of another is always “useless,” always unjustified, and that attempting to rationalize “the neighbor’s pain is certainly the source of all immorality”(“Useless Suffering” 98-9).

     

    Lévinas is not here referring primarily to the growing medicalization of humanitarian invention, although he does regard analgesia as a paradigmatically ethical response to physical pain (see Kennedy and Rieff). His point is that my ethical responsibility, which merely begins with first aid, does not arise from any previous relationship between sufferer and provider, or from a political history consisting of prior vows or crimes, but from “a past irreducible to a hypothetical present that it once was . . . . [and] without the remembered present of any past commitment”(“Diachrony and Representation” 170). Our responsibility to alleviate suffering comes before the past in the sense in which ethics can be said to come before politics. The priority of ethics arises “from the fear of occupying someone’s place in the Da of my Dasein“: “My . . . ‘place in the sun,’” he says, “my home–have they not been a usurpation of places which belong to the others already oppressed or . . . expelled by me into a third world” (“From the One to the Other” 144-5). Lévinas’s point is that in ethics, unlike politics, we do not ask who came first and what we have already done to (or for) each other. The distinctively ethical question is rather one of proximity–we are already here and so is the other, cheek-by-jowl with us in the same place. The neighbor is the figure of the other toward whom our only relationship is that of proximity. For Lévinas, the global movement to give ethics primacy over politics must be accompanied, within ethics, by the effort to give primacy to the ethics of the neighbor–the local over the global. In this way, the global primacy of ethics crystallizes around our horror of the inhuman act (the “gross” violation of human rights) rather than, for example, around the international distribution of wealth or the effects of global climate change.

     

    Proximity is, thus, the marker that distinguishes an ethics of the neighbor as a basis for human rights from global concerns about injustice that might also be considered ethical. Proximity is not itself a merely spatial concept–both space and time can be proximate or distant–but it is useful to think of the ethics of the neighbor as a spatializing discourse within ethics, as distinct from a “temporalizing” discourse that subordinates ethics to political rhetorics associated with memory and identity (Boyarin, “Space” 20). The latter is held accountable for the atrocities of the twentieth century because it suggests that the suffering of one’s immediate neighbor can be justified through an historical narrative that links it to redeeming the suffering of someone else, perhaps an ancestor or a comrade, to whom one claims an historical relationship that is “closer” than relations among neighbors. To regard proximity of place as the ethical foundation of politics is to resist this tendency from the beginning, and thereby to set the stage for the fin-de-siècle project of transitional justice, which is both the alternative to human rights interventions and their professed aim.

     

    Transitional justice assigns to historical enemies the task of living as neighbors in the same place. It employs techniques of reconciliation to create new and better relationships between previously warring groups, but the imperative to reconcile is ultimately ethical in Lévinas’s sense. That imperative is based on no relationship other than proximity and mutual vulnerability–the ever-present possibility that they will murder each other. If the subjects of transitional justice fail to reconcile, and mass murders occur, these atrocities are liable to be considered crimes against humanity that justify outside intervention. In the now-massive literature on transitional justice, gross violations of human rights are always assumed to be local, occurring between neighbors who occupy common ground, and the responders are treated as third parties who intervene (or fail to do so) from afar. Even if the responders have an historical connection to the site of intervention, perhaps as one-time colonizers, they are considered to be driven by ethics, as distinct from politics, in their willingness to respond on behalf of the world community that should never again stand by while neighbors murder each other.

     

    It is implicit in this emerging conception that the site of ethics is the space of the neighbor (or neighborhood) and that the site of politics is global. Global intervention in the local can be justified in the name of universal human rights; but violence aimed at global causes of suffering (such as the Seattle riots against the WTO or the Chiapas rebellion against NAFTA) is not seen as a form of humanitarian direct action on a par with bombing Belgrade or Baghdad. In the emergent global discourse on human rights, “Nothing essential to a person’s human essence is violated if he or she suffers as a consequence of military action or of market manipulation from beyond his own state when that is permitted by international law” (Asad, “Redeeming the ‘Human’” 129). A perverse effect of the global “culture” of protecting local human rights is thus to take the global causes of human suffering off the political agenda. Any direct action taken against global forces runs the risk of being considered a violation of universal human rights (a violation such as “terrorism”) in the locality where it occurs.

     

    Although my overarching intent is to show the limitations of the focus of post-Cold War politics on the global and of ethics on the local, I believe that this conceptual shift rests on the highly plausible belief that there is nothing worse than genocide, and that global acknowledgement of this ethical truth is what distinguishes the human from the inhuman. From this it follows that the credible fear of genocide is the primary source of moral claims that are worthy of global recognition, and that a new humanitarian order can be founded on protecting these claims, even if we protect no others, from historical and cultural relativism. If genocide is indeed the prime evil, then politics becomes quite simply the global question of how to respond.

     

    I want to confront this belief head-on. I will discuss: (1) what it means for ethics to treat genocide as the prime evil; (2) the particular conception of politics that makes genocide originally conceivable; (3) the particular conception of ethics that aims to make it once again unthinkable; (4) the political implications of genocide, and of its possible repetition, for political rule, political rights, and political judgment based on the moral status of victimhood; (5) the implications of a genocide-driven ethics for political values such as justice, peace, and patience; and (6) the reasons, both ethical and political, for not regarding human suffering as the root of all evil. In discussing these questions, I concentrate heavily on the opposed writings of Emmanuel Lévinas and Alain Badiou, while pointing toward a view of my own that agrees with neither.

     

    The Prime Evil

     

    Since late in the twentieth century, political thought has seen a renewed interest in “radical evil” defined through the paradigm of genocide–often coded simply as “Auschwitz.”3 Theodor Adorno describes this reorientation of ethics as follows:

     

    A new categorical imperative has been imposed by Hitler on unfree mankind; to arrange their thoughts and actions so that Auschwitz will not repeat itself, so that nothing similar will happen. (Qtd. in Cohen, Interrupting Auschwitz 4)

     

    No one, however, has gone further than Lévinas in dismantling the structure of pre-Auschwitz thought to articulate such a “new categorical imperative,” and to restate the ethical a priori, what Derrida has called “the Ethics of Ethics” (“Violence and Metaphysics” 111). As Lévinas says,

     

    It is . . . attention to the suffering of the other that, through the cruelties of our century (despite these cruelties, because of these cruelties) can be affirmed as the very nexus of human subjectivity, to the point of being raised to the level of supreme ethical principle–the only one it is impossible to question. (Qtd. in Derrida, “Violence and Metaphysics” 94)

     

    According to Lévinas, “the disproportion between suffering and every theodicy was shown at Auschwitz” (“Useless Suffering” 97). Auschwitz here stands for the proposition that we are all, even (or especially) the most civilized among us, capable of genocide and that building moral thought around this recognition changes everything: henceforward, we must never lose our fear of being victims of genocidal violence, but must fear even more our propensity to commit it. Moral thought since Auschwitz thus starts with the premise that every encounter with a neighbor carries with it, “despite the innocence of its intentions, . . . [t]he risk of occupying . . . the place of an other and thus, on the concrete level, of exiling him, of condemning him to a miserable condition in some ‘third’ or ‘fourth’ world, of bringing him death” (Lévinas, Time 169; see also Totality and Infinity 194-247).

     

    The political context within which genocide became all-too-thinkable within modernity is that of modern colonialism and the nationalist struggle against it.4 The origins of this dialectic may lie in an act of military conquest or in an unopposed claim to possession of territory that is already inhabited.5 Its domain is the spatial and temporal relation between a territory’s prior inhabitants, its colonial possessors, and, perhaps, its future citizens in a future independent state. The dialectic of colonialism allows us to think of occupying a common territory as either a matter of cohabitation or succession. It enables all sides to imagine the spatial proximity of indigenous peoples and later arrivals as an eliminable problem, while focusing their direct attention on who is threatening to eliminate whom in the present or in the near future.

     

    As a relatively recent moral trope for the murderous encounter with the Other, “Auschwitz” is now commonly read backwards into the history of colonialism, which it has become possible to describe as a prolonged Holocaust (see Churchill and Stannard). The colonial and the anti-colonial mind can conceive of genocide because they both can (and probably must) imagine the same territory without its current inhabitants. Relations among current occupants appear within the framework of colonialism to be essentially matters of temporal succession. Thus in the native/settler dialectic everything depends on who came first and who will remain. From the perspective of colonialism, any present time of simultaneous cohabitation of racialized ethnicities must be seen as historically abnormal, and perhaps ephemeral. The hortatory claim that genocide is now unthinkable points us toward a postcolonial future in which current spatial predicaments rather than historical relations among neighbors come to the foreground. A human rights discourse based on an ethics of the neighbor aims to bring this about through the technologies of transitional justice that put evil (and history itself) in the past.

     

    This form of argument presupposes a radical shift of moral orientation after 1945 in which “the Holocaust” rather than “the Revolution”–French, Russian, or arguably Haitian6–becomes the event that defines the relation between ethics and politics in late modernity. Before Auschwitz, the argument goes, a distinctive (and ultimately Schmittian) concept of the “political” allowed us to overcome our natural sensitivity to the suffering of fellow humans when they were constructed as the intimate “other.” This concept of the political produced the Holocaust as a horrifying endpoint to the genocidal logic of modernity that began in 1492.7

     

    The new human rights discourse that has taken root since Auschwitz aims (when viewed in Schmittian terms) to depoliticize the distinction between who we are and who we are not (Rorty 128). By the century’s end, the ethics of human rights, which were once the mottos of democratic revolution, became instruments of global order. They now require that one put the claims of spatial proximity ahead of those of historical destiny and that one value the virtues of political patience over those of revolutionary struggle. An “ethics” so conceived puts “politics” based on historical grievance at the root of “radical” evil in the world and severely limits the pursuit of justice based on backward-looking claims.

     

    From the perspective of an ethics of proximity, genocide victims (as represented by survivors) are the quintessential suffering subjects, the ultimate source of ethical value.8 Naming their plight as (actual or potential) genocide is now the duty of the rest of us, the first step in human rights intervention which is in turn defined by the ultimate moral duty to put humanitarianism ahead of all politics. Humanitarianism, thus, arises from a pre-political relationship between the victim of evil–he or she who suffers–and the spectator capable of discerning evil and willing to respond.

     

    Human rights are not an afterthought to ethics in this fin-de-siècle discourse but rather its very foundation. The essence of human rights discourse is to “infinitize” evil by equating it to the situation of a hostage population subject to the sovereign power of a Schmittian state (Rancière 307-8; see also Arendt, Origins, esp. ch. 9). The quintessential subject of human rights discourse is the neighbor who is viewed by the state as both an enemy and an alien, but who lacks the protection that “enemy aliens” enjoy under established international law. These domestic enemies may not only be interned by the state (arguably for their own protection), they are also subject to being exterminated by the state, and even by the neighbor next door.9 At the end of such periods of gross violations of human rights, the immediate goal of what we now routinely call “transitional justice” (see Teitel), is to reduce domestic enmity itself to a problem of excessive proximity, the likelihood that hostile neighbors will kill each other. The excesses of proximity are, of course, what the world market needs to eliminate, and integration of the local economy into the global–rather than justice as such–becomes a promised reward of the desired transition. Instead of demanding justice, the subjects of transitional justice are expected to show patience. Patience, when treated as a virtue, presupposes that the ethical duty of neighbors is to assure each other that now is not the time for a historical reckoning. As an ideology, it presupposes that third parties may feel obliged to intervene if these assurances fail. From the perspective of a watching world, the real point of transitional justice is that it is not justice as such, but rather closure. Through trials, truth commissions, amnesties, and other techniques, it seeks to adjourn past history and to make new time.10 (Now that these fin-de-siècle techniques of transitional justice can be studied and compared, Germany after Auschwitz has become another “case,” as well as a paradigm of largely successful transition; see Sa’adeh.)

     

    In the now-massive literature on “transitional justice,” fidelity to “Auschwitz” as the touchstone of radical Evil precludes the pursuit of any higher good through politics.

     

    The upholders of ethics make the consensual identification of Evil depend upon the supposition of a radical Evil. Although the idea of a radical Evil can be traced back at least as far as Kant, its contemporary version is grounded systematically on . . . the Nazi extermination of the European Jews. . . . [I]t exemplifies radical Evil by pointing to that whose imitation or repetition must be prevented at all costs–or, more precisely: that whose non-repetition provides the norm for the judgement of all situations. . . . [T]he Nazi extermination is radical Evil in that it provides for our time the unique, unrivalled–and in this sense transcendent, or unsayable–measure of Evil pure and simple. . . . As a result, the extermination and the Nazis are both declared unthinkable, unsayable, without conceivable precedent or posterity–since they define the absolute form of Evil–yet they are constantly invoked, compared, used to schematize every circumstance in which one wants to produce, among opinions, an effect of the awareness [conscience] of evil–since the only way to access Evil in general is under the historical condition of radical Evil. (Badiou, Ethics 62-3)

     

     

    This view is well-represented by the post-Holocaust restatement of humanitarian liberalism espoused by political theorists such as Judith Shklar and George Kateb who argue that the political pursuit of a higher good is itself the source of evil insofar as it makes us capable of justifying interpersonal cruelty that could eventually produce “an” Auschwitz.11 The foundation of this view is what Alain Badiou, its leading critic, calls a “consensual self-evidence of Evil” (58)–that after Auschwitz we know it when we see it. By this he means that the incontrovertible evil of genocide holds the place of the all-too-contestable notion of the Good on which earlier, and arguably more innocent, ethical views had been based.

     

    Badiou describes the main ethical thesis of post-Auschwitz humanitarianism as follows: “Evil is that from which the Good is derived. . . . ‘Human rights’ are rights to non-evil” (Ethics 9; and see Chapter 1 generally). The human rights that follow from this presumed consensus on what Evil looks like are as follows: “rights not to be offended or mistreated with respect to one’s life (the horrors of murder and execution), one’s body (the horrors of torture, cruelty and famine), or one’s cultural identity (the horrors of the humiliation of women, or minorities, etc.)” (9). Our presumed compassion for those who suffer these specific horrors provides the ethical foundation of a humanitarian politics that is constantly exposed to the fragility of empathy, indifference, and denial (see Cohen, States of Denial and Dean).

     

    This version of ethics implies, of course, a politics of its own–a politics of victimhood (on which I have written elsewhere).12 Before dealing with the politics of victimhood here, however, we need to address the centrality of genocide as the prime (irreducible) evil behind all others–the singular thing that must be made unthinkable for ethics to get underway.

     

    Imagining Genocide

     

    The imaginability of genocide arises from the moral psychology of place and race within the colonial project. In the words of Rebecca Solnit:

     

    Race, this identification with an ethnicity also imagined as an origin, has for the last century tended to generate a kind of ethnic nationalism whose insistency on the inseparability of race and place is itself mystical. . . . Israel itself was founded on the idea that the legacy of blood entitled the Jews to a legacy of land . . . I’ve always been as much appalled as awestruck that a people . . . could remain so attached to an absent place of origin that everyplace else could be framed as a temporary exile, . . . no matter how long they stayed. Becoming native is a process of forgetting and embracing where you are. (114-15)

     

    To understand the phenomenon, we can call upon Melanie Klein’s concept of “projective identification.”13 Klein’s idea is that the settler re-experiences his own aggression toward the native as fear of the native’s hostility toward him. In fearing the native’s “primitive” racism (which is already a response to colonization), the settler defends against guilt for displacing the native. By identifying himself as the object of his own feelings toward the native, the settler re-experiences them as feelings of racial antipathy on the part of the natives. In the dialectic of race and place, the role of the colonist is to think, “these people hate us because of our [. . .].” “Race” is the term of art that fills in the political blank: it acquires whatever biological, religious, linguistic, or cultural content is necessary to describe a difference between the settler and the native placeholder that precedes the settler’s occupation of the native’s place (Mamdani, “Race and Ethnicity” 4-8). The settler perfectly understands the depth of these ascribed feelings of racialized hatred, for they are merely his own original feelings projected onto others.

     

    It should be noted that there are two imaginaries of genocide embedded in such an account of projective identification.14 The first is the genocide of the native against the settler–the racially-motivated “massacres” of innocents by savages that are the foundation of settler colonialist lore. The second is the revolt of the native against the settler. The unconscious moral logic of the colonial experience bases the settlers’ genocide against the native on the settlers’ repressed fear or fantasy of being subjected to genocidal actions by the native. In his now-classic Wretched of the Earth, Frantz Fanon theorized that in order to liberate himself from colonialism the (black) native must embrace this projected willingness to exterminate the (white) settler (see also Fanon, Black Skin, White Masks). Fanon urges the “good native” to embrace the “bad” identity that embodies the settler’s terror. Jean-Paul Sartre famously read this claim as the next stage in revolutionary consciousness, and saw the native’s will to fight the colonist to the death as a higher form of the totalizing dialectic of master and slave described by Hegel and Marx (see “Preface” to Fanon, The Wretched of the Earth).

     

    Viewed from Lévinas’s perspective, as set forth above, however, Fanon’s argument is not that racially-based murder is justified as a condition of self-liberation. Fanon demonstrates, rather, that colonial subjugation–the problematic Da in the Dasein–is the conceptual root of genocide. For Lévinas, the “totalizing discourse” of white/black, master/slave, self/other is itself a formula for murder because, in their quest for mutual recognition, those who struggle do not acknowledge their prior lack-of-relation as mutually exterior occupants of the same ground (see the Preface to Totality and Infinity). In this respect, the willingness of the native to exterminate or expel the settler is simply a return-to-sender of the genocidal message of colonialism itself.

     

    The point here is emphatically not that racialized citizens of settler colonialist states are actual or would-be génocidaires. The settler colonialist is not always, and almost never merely, a ruthless exploiter–and can also be a developer, a civilizer, an educator. To be any or all of these things, however, is entirely consistent with the possibility of being paranoid about one’s own status as successor to the “Native.” The settler’s question is, “how can we live among these savages without civilizing them?” The essence of Fanon’s argument is that living without the “savages” is always a conceivable option within colonial discourse that precedes (and to some extent informs) the project of “civilization,” and thus that living without the settler must also be imaginable for liberation to occur as an outcome of the totalizing project of colonialism–and presumably of any other totalizing project that focuses on the relations of race and place (blood and soil).

     

    Writing both after Auschwitz and during an era of anti-colonial revolutions, Lévinas argues that all totalizing projects are grounded in imagining the death of the other–that is, murder. He includes here even the totalizing project that grounds ethics, as Richard Rorty does, on the shared qualities of all homo sapiens (and perhaps companion species) capable of conscious suffering.15 The American philosopher Hilary Putnam restates Lévinas’s concern as a concern about the vulnerability of the human rights culture to assertions of the “inhumanity” of other homo sapiens: “the danger in grounding ethics in the idea that we are all ‘fundamentally the same’ is that a door is opened for a Holocaust. One only has to believe that some people are not ‘really’ the same to destroy all the force of such a grounding” (35). At the pragmatic level, Rorty concedes “that everything turns on who counts as a fellow human being” (124)– indeed he stresses it–but the more fundamental claim made by Lévinas (and Putnam) is against the ethical assumption that arguments appealing to our shared humanity could count at all in ethical justifications of human rights.16 The meaning of Auschwitz, they suggest, is that ethics must now be based, not on a common humanity that we share, but rather on the mere fact of occupying common ground with those with whom we do not presume any (other) affinity or relationship. Thus conceived, Auschwitz reveals the limits of the ethical project that teaches us to treat the other under the aspect of the same. Ethics–the ethics that is not subordinate to politics–must now begin with the damage that our mere presence causes to others whom we displace, and whom we must treat as genuinely exterior to the “other” who inhabits our own mind as an outward projection of the “self.”

     

    Lévinas’s critique of totalization is an ethical complement to Klein’s psychoanalytic account of projective identification, although he did not to my knowledge address this connection. Klein interpreted the moralized feelings that connect us with fellow humans as projections of our feelings toward the good and bad parts of ourselves: she showed how “bad” (demonized) others are also the threatening parts of the self that we externalize, and that “good” (idealized) others are also the parts of the self that we seek to protect from such internal threats of persecution. From this perspective, the phenomenology of interpsychic struggle–for example, the Hegelian struggle between Master and Slave–is also inextricably intrapsychic. Human rights idealism after Auschwitz would thus appear as a symptom of human rights paranoia after Auschwitz, an overidentification with our common humanity as a defense against the fear of being persecuted as inhuman. Klein believed that an authentic humanitarian ethics must begin with the acknowledgement of others as genuinely external to the “internal objects” that we project and introject as split-off parts of the self. What makes these proximate others exterior (we might say extrapsychic) is that they survive the damage caused by our presence and call forth from us a concern for the other that is experienced as a primary duty of repair (see Klein, Love 306-69 and Hinshelwood, Entry 10). Donald Winnicott goes further in defining the ethical “separation” necessary to distinguish the real externality of others from the internal objects whom we fantasmatically destroy or rescue through our “projective mechanisms” (90). He argues that the internal object

     

    is always being destroyed. This destruction becomes the unconscious backcloth for love of a real object; that is, an object outside the area of the subject’s omnipotent control. . . . The destructiveness, plus the object’s survival of the destruction, places the object outside the area of objects set up by the subject’s projective mental mechanisms. (94)

     

    An ethics based on the reality of separation (proximity as exteriority in Lévinas’s sense) would, thus, be inherently more stable than an ethics that relies on mechanisms of interpersonal identification, which are always fantasmatic and implicitly paranoid. Eric Santner takes this ethical view to what is, perhaps, its limit by describing it as “my answerability to my-neighbor-with-an-unconscious” who is, thus, “a stranger not only to me but also to him- or herself.” If this is, indeed, the basis of an ethics founded on separation, rather than on identification, then “the very opposition between ‘neighbor’ and ‘stranger’ begins to lose its force” (9, and see 23, 82).

     

    To prevent the repetition of Auschwitz, according to Lévinas, we must face up to the mechanisms that Klein would call projective identification: “I am [unconsciously, Klein would say] responsible for the persecutions I undergo . . . since I am responsible for the responsibility of the other” (Lévinas, “Responsibility” 99). Although this ethical claim can be found throughout his work, Lévinas eventually grounds it on the observation that a desire to commit murder or genocide is intelligible only because we see ourselves either as its subject or as its object. The imaginable reversibility of subject and object (active or passive) has an ethical significance that Lévinas comes to call “substitution.” “The ego,” he says, “is a substitution” (“Substitution” 127). By this he means that “subjectivity no longer belongs to the order where the alternative of passivity and activity retains its meaning”; it follows that “the self, a hostage, is already substituted for the others” (118). On this view, every evil that we are capable of fearing–and now we must include even radical evil–is also something for which we are capable of wishing. We must ground ethics not in affinity or reciprocity, but in our prior responsibility toward those to whom we will relate only as neighbors–and whom we must treat as though our feelings toward them were merely projective. In a Lévinasian ethics of the neighbor, my responsibility not to kill is based on proximity alone.

     

    It can thus be argued that the ethics of human rights “after Auschwitz” presupposes the simultaneous existence and repression of genocidal thoughts. This kind of argument is nothing new. Freud himself grounds mass (or group) psychology both on the wish to kill the father and on the repression of the memory of having already done so in one’s mind (that is, in unconscious fantasy). He argues that the foundation of the group is a memory that lies outside the realm of permissible thoughts in the form of a taboo.17 Subsequent Freudian interpretations of the social contract have evoked real and fantasmatic scenarios of regicide and fratricide (Brown 3-31). The question is whether the imagery of Auschwitz–which is also and indubitably something real–now also functions on a fantasmatic level within the global rhetoric of human rights in the way that the imagery of regicide functioned in discourses on the Rights of Man that followed the French Revolution (see Walzer and Hunt).

     

    My general claim about the function of genocide in the global ethic of the neighbor is that it functions like Freud’s argument about the role of parricide in the ethics of the family. In the new global ethics of “never again,” however, the collectivity is not seen as a type of family, but as a type of neighborhood in which spatial rather than generational relations predominate. Like all foundational acts, genocide is constitutively outside the sovereign power that (from time to time) calls a group, even a “world community,” into being. The génocidaire is the quintessential criminal against humanity as such, the inhuman monster to whom “terrorists,” for example, must now be compared; genocide has become the morally incomparable act that is constantly subject to repetition. In fin-de-siècle human rights discourse, genocide becomes the wish that an imaginary sovereign power makes taboo–unthinkable because it is repressed, and for that very reason at the root of all our conscious fears.

     

    The presumed unthinkability of genocide–the repression, not the absence, of the wish–is thus both the founding premise of the fin-de-siècle Human Rights Discourse and the stated goal of most human rights advocacy.18 The recollection of genocidal experiences from the victims’ standpoint, however, is the overt subject matter of many histories and of much science fiction.19 On its surface, this literature claims to warn us of the dangers of genocide so that we will fear and avoid them at all costs.20 At a deeper level, however, the fear of genocidal victimhood and our enhanced imagination of it are also troubling. What does it really mean, after all, to imagine genocide, to fear it, and to avoid it at all costs? Is it not ultimately this political mindset that has made “thinkable” in the twentieth century the genocides of which some otherwise civilized nations have become capable? For them, the thinkability of ethnic cleansings and extermination has been a defense (by projection) against their heightened ability to imagine themselves as the objects of genocidal intent.21 As the world embarks on the twenty-first century, genocide has never been more thinkable–especially the genocide of which we may be victims. It has now become almost conventional to argue for the existence of genocide, for example in Darfur, by publishing photographs of dead bodies and daring the viewer to refuse empathy.22

     

    The thinkability of genocide as a defense against the fear of genocide is a disturbing point to acknowledge. To say that genocide is morally intelligible is not to say that it is now, or ever could have been, morally right; instead, it is to note that most genocides are not mere acts of inadvertence or insensitivity, but rather moments of intense moral concentration invoking high concepts like human rights and democracy. If we cannot imagine the logic of genocide (and how that logic employs our moral concepts), we will never understand how a human rights discourse (which may, for a period of time, seem well-established in places like Sarajevo) can dissolve into what commentators glibly describe as “primordial group hatreds,” and how that same discourse can later re-emerge as a self-conscious return to civilized values.23

     

    Democracy and Human Rights

     

    With Hegelian hindsight, we should not be surprised that “never again” became the dominant ethical imperative of the fin de siècle. Much of the twentieth century was taken up with the claim that majority rule is really just a way to protect human rights in the usual case in which the majority legitimately fears being victimized by the minority. It appeared that a more general form of democratic theory would actually favor the principle of self-rule by potentially victimized people over the principle of majority rule in the abstract. According to this argument, it is the legitimate fear of victimization on the basis of ethno-national identity, rather than the relative number of people in the potentially-victimized group, that justifies the right of that group to the territorial rule of a “homeland.”

     

    Although many twentieth-century thinkers held this view, it is most widely associated with Woodrow Wilson. Unlike other heirs to Jefferson who stress the relation between popular sovereignty and individual rights, Wilson focused on the relation between the state and the nation. States were created by sovereign “peoples,” he believed, who decided thereafter to impose limitations on the powers of the governments thus created. Liberalism might define the relation of ruler and ruled within a people, but nationalism–in this case ethno-nationalism–would create that people and define its boundaries.24 If all nation-states functioned in world politics as the virtual representatives of their own “peoples” in diaspora, so Wilson’s logic goes, then each national state would protect its permanent minorities out of fear that members of its own “people” might suffer retaliation while living as minorities elsewhere.25 As Wilson conceives it, the post-imperial relation between national and international politics is in effect a kind of hostage arrangement based on the tacit acknowledgment that the “peoples” of the world are already dispersed, and that their potential ingathering is a legal fiction needed to protect their rights wherever they might be.26

     

    At the level of political psychology, however, the “ingathering” of the group is far from fictitious–it is a necessary form of self-idealization that can be an effective defense against well-founded fears of persecution.27 In Wilson’s terms, groups asserting protected minority status anywhere have to imagine themselves both as potential victims where they are and as potentially hegemonic somewhere else. To their current oppressors they thus become hypothetical threats (people who could do the same to “us”), thereby also allowing their continuing oppression to be rationalized on the grounds of self-defense.

     

    Within a Wilsonian framework, the danger of ethno-national violence is, thus, an unavoidable structural feature of the interstate system itself. On the one hand, this danger is the national majority’s excuse for the repression of outsiders who live under the regime; on the other hand, that repression becomes a further reason for insurrection. Adding to these internal conflicts, nation-states based on victimhood feel entitled to use their sovereign status in the international community to protect co-nationals who live as minorities elsewhere. That is often what it means to say “Never Again.”

     

    The obvious problem here is that any state created to allow a previously subjugated minority to rule in the name of former victims almost inevitably has permanent minorities of its own.28 Therefore, the claim of victimhood to nationhood is as much a cause of victimization as it is a remedy. But if the point of demanding nationhood is to protect a people from further victimization, it follows that a state based on the promise of “never again” does not violate Wilsonian principles by resisting, at least up to a point, attempts at self-help by separatist minority groups that threaten to “strand” members of the present “majority” within a smaller state in which the present “minority” rules.

     

    In a Wilsonian world in which international military interventions would be prohibited by agreement of the great powers, civil strife on both sides of an international border becomes the dominant and permissible form of permanent conflict. This was to be the price (if not the meaning) of “world peace.” From here, we can trace the roots of the racialized conception of democracy that characterizes post-imperial states: a conception of democracy in which the elimination of bodies–ethnic cleansing–becomes an alternative to the conversion of minds. It is such a world that the current politics of humanitarian intervention seeks to transcend using legal arguments that are still basically Wilsonian and ethical arguments that resound with the gravity of Auschwitz. It is, however, the Wilsonian system that presupposes and reproduces the very horrors that humanitarian intervention seeks to stop. This fundamental contradiction is not addressed by merely asserting, as many do today, that the ethical has priority over the political.

     

    Democratic theory has never really traversed the difference between (1) democracy as a truth procedure (like the scientific method) in which individual minds are changed by the result,29 and (2) democracy as a form of rule in which no minds are expected to change through the process itself. In this second conception of democracy, majority and minority identities are not produced by the actual vote; they pre-exist the vote, and are merely affirmed by it. This second conception of democracy has been thoroughly described by social scientists, but it is not well-theorized. To fill this theoretical gap, we must turn not to the forms of political thought modeled on interest aggregation in the market but rather to those specifically concerned with the moral psychology of victimhood. When the moral psychology of victimhood dominates the political sphere, the addition or subtraction of bodies becomes the essence of the democratic project. This addition and subtraction can take place by expelling bodies, by ignoring them or, in the worst case, by killing them.

     

    There is little theoretical justification for abstract majority rule when we’re no longer in the business of persuading each other–when our votes are rooted in the fear of being victimized on the basis of a pre-existing identity. In these circumstances it becomes plausible to argue that doing justice to former victims is a more fundamental legitimation of political power after evil than majority rule itself. If this is true, the underlying justification for majority rule assumes that much of history consists of the victimization of large majorities by small (and originally feudal) minorities. According to this argument, the foundational principle of majority rule would not be popular sovereignty, but “never again.” In the aftermath of the genocide, so the argument goes, a guilty oppressor, whether it is the majority or not, can no longer assert its own interests as before. Henceforward, and for the indefinite future, it has no right not to have its interests subordinated to those of surviving victims. To have one’s interest subordinated to the interests of others is part of what it means to be ruled by them (see Elster).

     

    Accepting as legitimate the subordination of one’s interests, and renouncing all pride in one’s national identity, is what it means, constitutionally, to live in a state of disgrace (Dalrymple). What, then, is the meaning of democracy where a formerly ruling group, perhaps a majority, has been disgraced by its role in prior injustice? Could the arguments that normally support majority rule here be used to justify specific forms of minority rule instead? These are the unanswered constitutional questions posed by an ethics of human rights that is also a politics of victimhood.

     

    Victimhood and the Right to Rule

     

    In the aftermath of radical evil, what does victimhood lack, and what should it want? Can a national self-rule be the sublimation of victimhood? And is overcoming victimhood what nations want?

     

    The problem of Tutsi minority rule in post-genocide Rwanda illustrates the unresolved conflict between the Wilsonian theory of democratic rule and fidelity to the ethical meaning of Auschwitz. Even before becoming victims of genocide, Tutsis were frequently described as the Jews of Central Africa. Originally a pastoralist caste, they were dispersed throughout the region–unlike the cultivators (Hutus), who had customary roots in a tribal homeland. In the pre-colonial regime of Rwanda’s mwami (king), those who intermediated between the kingdom and the tribes were considered to be Tutsis, but these same individuals might have been considered Hutus if they acquired customary rights in a particular homeland. Prior to colonialism, the distinction between Hutu and Tutsi was not binary (either/or), and not totalizing in Lévinas’s sense.

     

    It was not until Belgian colonial rule that the caste distinction between pastoralists and cultivators was redescribed as a colonial distinction between “natives” and “settlers.” The natives’ identity is based on place (they preceded the settlers as occupants the territory to be settled). In contrast, the settlers’ identity, insofar as it is translocal, can be said to be based on race. A race, unlike a tribe, was conceived by colonial rulers to be essentially migratory–it becomes aware of having origins because it also has a destination (see Mamdani, “Race and Ethnicity” and Solnit). The Belgian rulers of Rwanda thus described Tutsis as a migratory race of “Hamites,” a migratory race of “white” negroes, who had earlier settled on Hutu tribal lands Tutsi identity was thus racialized at the same time Hutu identity was ethnicized–the difference between the two indigenous groups was analogized to that between colonial settlers and native tribes, and Tutsis were, thus, conceived to be appropriate agents (and minor beneficiaries) of Belgian rule over Hutus. When Belgium’s rule of Rwanda was about to end, its plan to turn power over to the Tutsi race was blocked by a Hutu Revolution demanding majority rule. The ideology of “Hutu Power” embraced the Belgian view of Tutsis as a stateless race of settlers, and now sought to expel them as an alien elite that had always been parasitical on the Hutu majority and had become, more recently, the principal collaborator in colonial rule. At this point, an individual was considered to be either Tutsi or Hutu–once the distinction had been politicized (in Schmitt’s sense) one could not be both.30

     

    The genocide committed against Rwanda’s remaining Tutsis in 1994 occurred at the same time as an invasion by an army of Tutsi expellees who had lived as refugees in Uganda (see Mamdani, When Victims Become Killers chs. 6-7). Commentators differ about the extent to which the genocide was provoked by the invasion, and the extent to which the invasion was justified (at least in retrospect) by the need to rescue the Rwandan Tutsis who remained from the near certainty of genocidal massacre. With the benefit of hindsight, it is clear that no one else would have rescued the Tutsis who remained had the army of Tutsi refugees been held back at the Ugandan border, and also that fewer people would have been killed had no invasion been threatened.31 These facts can be used to argue that the Tutsi invasion was a failed Wilsonian strategy for protecting Tutsis within Rwanda or that it was an ethically required intervention to “interrupt Auschwitz.”

     

    Both arguments support the self-description of Tutsi-ruled post-genocide Rwanda as a victim-state, consciously modeled on the state that might have been created for the Jews after the Holocaust if it had been carved out of Germany rather than developed in Palestine (see Mamdani, ch. 8). To grasp the meaning of this, imagine that the fears that Goebbels invoked as propaganda during World War II had been descriptively correct–that Germany faced invasion by a militarized form of international Jewry seeking to reverse the historic course of German nativism. This hypothetical scenario for understanding the Holocaust as a reaction by German “natives” against Jewish (and other) “settlers,” already adumbrated in Mein Kampf, comes close to the actual scenario in Rwanda on the eve of genocide.32 Assuming that this rationalization for a Holocaust must “never again” be condoned, the invasion of Tutsi exiles that triggered the genocide was justified as a humanitarian intervention to rescue Tutsi survivors using means that are supported, if not required, by international law. Thereafter, the history of genocide (and the fear of its repetition) becomes an ideology of post-traumatic rule, purporting to justify the suspension of the normal criteria of political judgment in the successor state. Tutsi minority rule in Rwanda is thus not justified as a form of racialized oppression any more than Jewish rule of post-War Germany would have been so justified. Why? Because the basis of the rule is not racial per se; rather it occurs through the transformation of racial identities into those of victim and perpetrator, a transformation that occurs in the foundational moment of the genocide itself.

     

    This is analogous to arguing that surviving German Jewish victims of the Holocaust deserved to rule a defeated and disgraced Germany and that returning Jewish exiles were entitled to share that rule–perhaps in the name of the victims who did not survive or else in the name of the rescuers. The analogy with Rwanda brings out the pragmatic difficulty of basing claims for justice on Daniel Jonah Goldhagen’s broad (but contested) description of ordinary Germans as “Hitler’s willing executioners.” In Rwanda, a country of six million, an estimated three to four million Hutus did in fact directly participate in the murder of perhaps 800,000 Tutsis and Hutu resisters. The appellation “willing executioners” could plausibly be applied to much of the surviving adult Hutu population of the country. A Nuremberg-style punishment of all Rwandans who were personally responsible for genocidal actions would come so close in its effect to another, legally sanctioned, genocide that it would be difficult to distinguish from collective vengeance.

     

    What victimhood demanded, instead, is the right to rule–or, at least, the right to have the state ruled in the victims’ name. The argument for victims’ rule, even if they were to rule as a minority, is that a state cannot live on after genocide as though the distribution of bodies within the majority and the minority were an untainted fact of biopolitics. In Rwanda today “justice” is the code-word for Tutsi minority rule, legitimated by the disgrace of the Hutu majority.

     

    The dilemma of postgenocide Rwanda lies in the chasm that divides Hutu as a political majority from Tutsi as a political minority. While the minority demands justice, the majority calls for democracy. The two demands appear as irreconcilable, for the minority sees democracy as an agenda for completing the genocide, and the majority sees justice as a self-serving mask for fortifying minority power. (Mamdani 273)

     

    In Mamdani’s account, however, the deeper choice is between a presumption of forgiveness on the one hand, and victims’ rule on the other. Rather than make this choice, post-genocide Rwanda claims to be an example of both. The journalist Philip Gourevitch describes the return of “a certain Girumuhatse” to share a house with the surviving members of the family he butchered during the 1994 genocide:

     

    But why should survivors be asked to live next door to killers–or even, as happened in Girumuhatse’s house, under the same roof? Why put off confronting the problem? To keep things calm, General Kagame told me. (Gourevitch 308)

     

    Behind this pragmatic avoidance of confrontation, however, lies the assumption that where everyone has sinned in either deed or wish, the only way forward is through an ethics of the neighbor.

     

    To invoke an ethics of the neighbor in the aftermath of sin, outside commentators sometimes describe Rwanda in the terms used by St. Paul to describe the world. Rwanda is a place in which the difference between sins actually committed and sins of the heart is merely the difference between “could have” and “would have.” Some have argued that Rwanda is an ideal case for the Pauline solution of confession, forgiveness, and rebirth.33 Forgiveness in Rwanda would, presumably, be based on recognizing that the fear of genocide makes committing genocide thinkable, and that in wish, if not in deed, all are sinners. In a Christian context, however, the sinners are already potentially forgiven. This is why they struggled then, and can now stop sinning.

     

    But what could it possibly mean in a secular, constitutional context to believe that one is already potentially forgiven? It means, presumably, that one has not yet been judged, and may never be–that the resumption of useless suffering has been postponed. Unlike the Christian sinner who can be reborn, the secular survivor of radical evil–Auschwitz, Rwanda–is simply not yet dead. The “postponement” of death, as Lévinas calls it, is the gift of time (Totality and Infinity 224). Secular survivorship after Auschwitz does not make past suffering meaningful in the Pauline way, the way of theodicy, where the sinner is forgiven and the sin is, thus, redeemed (felix culpa). What Lévinasian survivors get is time that is always more time, an aftermath–time to apologize, to “correct the instant” and still be conscious of “the pain that is yet to come” (238). “To be temporal,” according to Lévinas, “is both to be for death and to still have time, to be against death” (235).

     

    This describes the ethics of “Never Again,” which is, quite literally, a stand against repeating the past in the time that remains. It is the crime (and not the forgiveness) that has always already happened, and it is the repetition of violence/murder/genocide that makes it ethically traumatic. But what does it mean to fear the repetition of genocide (or of lesser traumatic events)?34 If the aftermath of sin is a state of grace, the aftermath of evil is a state of disgrace. At its best (if such a term can apply) the survivors’ state described by Lévinas would be one of constant wakefulness based on the awareness that humanitarian responses almost always come too late, but are required nonetheless (see Cohen, Interrupting Auschwitz ch. 3). The same state of disgrace, however, can be more neutrally described as one of depressive hypervigilance, in which survivors in a common space spend the time they still have defending against their persecutory anxieties and well-founded fears.

     

    Virtual Rule and the Right to Judge

     

    In many ways post-genocide Rwanda is a prototypical state of disgrace in which it is also true that a sullen majority is ruled by returning exiles in the name of victorious victims.35 They rule, as we have seen, in the name of justice–or perhaps in its stead. But what would it mean for former victims to rule justly over those who once oppressed them? This question is neither inherently unanswerable nor merely rhetorical–it is, and must be, addressed whenever courts or legislative bodies create institutions designed to remedy past injustice within a democratic framework. Only after radical evil, however, is it conceivable that a dominant group, even if it is a majority, has so grossly abused its right to rule that it must legitimately subordinate its interests to those of the former victims who now rule them. To say that this is conceivable, however, does not exempt victims’ rule from requirements of justice. In this case, we must ask whether forms of virtual rule, which are often attenuated cases of victim’s rule, could in principle be better suited to redressing bad history without reproducing it.

     

    The post-slavery United States did not become Liberia–a country ruled by former slaves. Instead, its history of slavery resulted (eventually) in a body of anti-discrimination law. The constitutional origins of anti-discrimination law lie in the rights of U.S. citizens living out-of-state to be treated as well under the law as the in-state majority treats itself, and, hence, better than it is obliged to treat the federally unprotected local minority that lost out in the democratic process. Thus described, the individual protected by anti-discrimination law is virtually represented by the local majority–that individual has no rights that the local majority does not grant to itself, but can be denied no rights that the local majority does grant to itself. Extending the concepts of anti-discrimination law to the descendants of slaves limits the extent to which a white majority in America (while there is a white majority) may take only its own interests into account.36 The limitation arises because anti-discrimination law will treat the ruling majority as if it were the virtual representative of the now constitutionally protected groups–“discrete and insular minorities” that do not rule, and yet may not be treated as ordinary electoral minorities in disregard of their particular histories of victimhood (see Ely, Brilmayer, and Shapiro).

     

    Anti-discrimination law, a scheme that limits how majorities may rule the permanent minorities they once oppressed, is one end of a continuum of constitutional schemes that subject democratic processes to the claims of victimhood. Along this continuum lie schemes to adjust voting procedures and electoral constituencies in order to give constitutionally protected groups enhanced representation in the legislative process (see Guinier). Consociational Democracy (separate electorates) is another step toward political autonomy (see Lijphart), which would grant groups that fear victimization the right to rule themselves (and others?) through the territorial partition of an existing state. Then there is the type of right asserted in Rwanda: a group that fears future victimization asserts the right to rule directly over those who have perpetrated atrocity in the past. Another possibility, of course, would be the expulsion (repatriation? resettlement? extermination?) of the traumatized victim group–which suggests that our spectrum of possibilities may in fact come full circle in making the foundational atrocity conceivable once again.

     

    Having come full circle, why not create a new national homeland for the victimized group? In the case of Israel, this could be viewed as a humane Wilsonian solution to the post-Holocaust refugee problem, or as a belated endorsement of the SS’s “Emigration Policy” that preceded the “Final Solution to the Jewish Question” and that led Adolf Eichmann to meet with an agent of the Haganah in Cairo. (On the Zionist side, it was at least clear that the pre-war persecution of German Jews could potentially accelerate their emigration to Palestine.37) If the creation of Israel mooted the question of whether Jewish survivors of the Holocaust deserved to rule Germany, the new Jewish state itself raised the question of whether it was entitled to judge Germans for their crimes against Jews. Hannah Arendt’s treatment of the Eichmann trial focuses fundamentally on the issue of whether victims who do not seek the right to rule can nevertheless claim the right to judge. The capture and trial of Eichmann, she argued, was not merely the prosecution of an individual who had special responsibility for the Final Solution; it was a constitutive moment in the creation of Israel. Israel here asserted that a people that had overcome its victimhood with nationhood is uniquely entitled to judge the crime of genocide committed against it. Israel now stood, and stood alone, for the survival of all Jews as a people. It represented the victim as survivor, the victim as judge, the victim as avenger, the victim as sovereign.

     

    Israel thus claimed the right to judge Eichmann from the standpoint of his victims themselves. The post-Holocaust sense of justice on which the trial was based proclaimed itself to be different from justice as impartiality. It was, rather, to be a form of justice based on the premise of “Never Again.” As Eichmann’s prosecutor, Israel stood as “The Seventh Million.” It spoke not for neutrality, but for the Six Million dead; it spoke as the remnant of world Jewry.38 The trial aimed to transform the meaning of Nuremberg retrospectively from a victors’ justice, which was troubling enough to liberal legalists,39 to a victims’ justice, which was more troubling still to a diasporic intellectual like Arendt, who came of age at a time that made her alert to the dangerous consequences of the Wilsonian view that, within an international system, nationhood was the answer to collective fears of victimhood.40 Before departing to cover the trial, however, she also acknowledged to Karl Jaspers that “it was for the sake of these victims that Palestine became Israel” (415).

     

    Arendt’s great work, The Origins of Totalitarianism, had been about how stateless peoples could subsequently be persecuted everywhere because they were sovereign nowhere. In the interwar period, she argued, blacks and Jews were principal victims of “racism” precisely because they represented stateless diasporas rather than localizable ethnic claims to self-determination. Arendt saw clearly that describing stateless peoples (Jews/Tutsis) as “races” had made genocide conceivable to movements and parties advocating the expulsion or direct elimination of natives by settlers or vice versa. The problem posed by the Eichmann trial, as Arendt describes it, is that the very logic under which Zionism was a fitting response to the Holocaust is based on the conceptual framework that had made genocide thinkable (see Arendt, Origins, Part II).

     

    While Arendt believes that, ultimately, there is a legal and moral rationale for convicting Eichmann (Eichmann 278-9), she finds the project of building nationhood on the notion of the righteous victim to be essentially antithetical to the ideal of democratic citizenship as a way to produce a legitimately ruling majority through persuasion and cooperation. Once nationality becomes the dominant trope of victimhood, every group that claims to be a victim may use the term “nation” to claim virtual sovereignty, at least to the extent that it has immunity from being judged by its “other” and that it has a privileged right to judge itself. In Arendt’s view, Zionism now epitomized such claims: what had begun as a political critique of a cult of victimhood in religious Judaism had become the secular equivalent of such a cult–a nation grounded on survivorship in a place of refuge.

     

    Justice, Peace, and Patience

     

    It has become part of the moral history of the twentieth century that Jews, the paradigmatic victims of the Holocaust, can also be said to claim an ethic of the neighbor as their distinctive contribution to world political thought. The post-Holocaust thought of Lévinas, for example, articulates this ethic as a relation to a “face” rather than to a place.

     

    One’s implementation in a landscape, one’s attachment to Place . . . is the very splitting of humanity into natives and strangers. . . . Technology does away with the privileges of this enrootedness and the related sense of exile. It . . . wrenches us out of . . . the superstitions surrounding Place. From this point on, an opportunity appears to us: to perceive men outside the situation in which they are placed, and let the human face shine in all its nudity. Socrates preferred the town, in which one meets people, to the countryside and trees. Judaism is the brother of the Socratic message. . . . It remained faithful in this way to the highest value. The Bible knows only a Holy Land, a fabulous land that spews forth the unjust, a land in which one does not put down roots without certain conditions. (Difficult Freedom 232-233)

     

    Without belaboring the obvious tension suggested here between the message of Judaism, thus described, and political Zionism, it is clear that this quote privileges the position of the refugee over the claims of both settler and native, and treats the territory as a place of refuge harboring potential neighbors for whom bad history is always yet to come. The space of the neighbor (the neighborhood) is no longer a “situation” for which we share attachments; it is here mystified as a pure relationship of being in the presence of, and answerable to, another face. What makes this relationship quintessentially ethical, according to Lévinas, is that the neighbor does not approach us first with the political identify of friend or foe, and with the claim to be recognized accordingly. Rather, the neighbor’s first demand is placed upon us by pure proximity–not because we feel closer to our neighbor than to someone else, but because his proximity makes us answer for our responsibility to the more distant stranger for whom he also substitutes (see “Substitution”). In Lévinas’s ethic of the neighbor, “The proximity of the neighbor–the peace of proximity–is the responsibility of the ego for an other” (“Peace and Proximity” 167).

     

    Proximity thus functions for Lévinas as a special case of distance–the case in which we must address our lack of any relationship to another human except the ethical one, which is exposure and nothing more.41 Not only is the neighbor someone whom we cannot really know: Lévinas believes (here following Frantz Rosensweig) that the neighbor comes before us as a stranger to himself in just the same sense that, in his presence, we too can no longer presume to know ourselves. Some Lacanians use the term “extimacy” to describe this non-relationship of humanitarian ethics, and distinguish the demands of pure proximity from the relations of closeness we call intimate.42 In this respect, Lévinas anticipates the recent thought of Giorgio Agamben, who asks us to “imagine two political communities insisting on the same region and in a condition of mutual exodus from each other.” In such an “aterritorial . . . space,” “the being-in-exodus of the citizen” would oppose itself to the limitations of the nation-state (Agamben, “Beyond Human Rights” 24-5). “The political survival of humankind is today thinkable,” Agamben goes on to say, “only in a world in which the spaces of states have been thus perforated and topologically deformed and in which the citizen has been able to recognize the refugee that he or she is” (26).

     

    If Agamben now directly seizes on the ethical figure of the neighbor as refugee, it is still Lévinas who insists that in responding to each other as beings-in-exodus, our respective “stories” must not matter. The ethical point–for Lévinas the whole point–is that the neighbor is someone to whom we must respond merely because he is there. Our response, therefore, must not be to reproduce an historical narrative of our interaction: Which of us arrived first? Who must leave first? Which of us is “allergic,” and which is the allergen? We must, rather, respond to the neighbor’s need outside of history–we must, unavoidably, answer to his presence itself, even before deciding what to do.

     

    The face of the other in its precariousness and defenselessness is for me at once the temptation to kill and the call to peace, the “You shall not kill.” The face which already accuses me makes me suspicious but already claims me and demands me. (167)

     

    Precariousness and defenselessness are, of course, typical of the plight of refugees, but even more fundamentally they are the source of the dogma of the “sacredness” of human life on which human rights interventionism rests. As Agamben demonstrates, homo sacer in Roman Law refers originally to an exception from the prohibition on murder, the life that may be taken with impunity by either ruler or neighbor without having the religious significance of a sacrifice or a sacrilege:

     

    Subtracting itself from the sanctioned form of both human and divine law . . . homo sacer . . . preserves the memory of the originary exclusion through which the political dimension was first constituted. . . . The sovereign sphere is the sphere in which it is permitted to kill without committing homicide and sacred life . . . is the life that has been captured in this sphere . . . . [T]he production of bare life is the originary activity of sovereignty. The sacredness of life, which is invoked today as an absolutely fundamental right in opposition to sovereign power, in fact originally expresses precisely both life’s subjection to a power over death and life’s irreparable exposure in the relation of abandonment. . . . [T]he sovereign and homo sacer present two symmetrical figures that have the same structure and are correlative: the sovereign is the one with respect to whom all men are potentially homines sacri, and homo sacer is the one with respect to whom all men act as sovereigns. . . . Life is sacred only insofar as it is taken into the . . . originary exception in which human life is included in the political order in being exposed to an unconditional capacity to be killed. (Homo Sacer 82-85)

     

    Agamben here suggests that the asserted priority of ethics over politics, which is the kernel of the fin-de-siècle ideology of human rights interventionism, is itself symptomatic of a political condition in which precariousness and defenselessness are presupposed–and which humanitarian interventions themselves both mitigate and reproduce.43

     

    I believe that when ethics opposes itself to politics in this way (especially when it claims to be humanitarian) it should be seen politically as well. Politically, the humanitarian move in ethics constitutes a deliberate attempt to dehistoricize and decontextualize what may be a structural problem, so as to focus on the quality of interpersonal encounters occurring in relatively close proximity. Ethically, it is a refusal to mythologize human suffering by reconnecting it to religious sacrifice–or its modern secular equivalent, suffering on behalf of others.44 When suffering becomes morally meaningful in this way, or must be made so through future action, then ethics may call for a continuation, or even a recommencement, of political struggle, and so we are back to politics once more.

     

    I suggested early in this essay that the post-Cold-War assertions of the primacy of humanitarian ethics have effectively functioned as a spatializing move within global politics; our present discussion allows me to say more about how this occurs and what it means for aspirations of justice. The type of proximity that has ethical significance, according to Lévinas, is not spatial proximity alone, but rather what he calls the encounter with “exteriority.” His most important work, Totality and Infinity, is subtitled “an essay on exteriority,” and here and elsewhere, he makes clear that proximity as exteriority is not reducible to spatial contiguity. There must also be what he calls “non-coincidence,” which is modeled on the relationship of different moments in time. “Time signifies this always of non-coincidence, but also the always of the relationship . . . It is a distance that is also a proximity” (Time and the Other 32). The ethical move against politics, according to Lévinas, amounts to a “deformalization” of the dominant metaphor of time in which the past is “irreducible to a hypothetical present that it once was” and is replaced by “an immemorial past, signified without ever having been present” (“Diachrony and Representation” 170, 172). The past is essentially not present, both in the ordinary sense and because it signifies non-presence. Lévinas says that, in focusing on the present, as opposed to the “re-presentation” of the past, ethics effectively “leaves time” for devotion to the other (173, 175).

     

    Time is the mode of reality of a separated being that has entered into relation with the Other. The space of time has to be taken as a point of departure. . . . The being, thus defined has its time at its disposal because it postpones violence. . . [it] seizes upon the time left it by its being against death. . . . Consciousness is resistance to violence. Human freedom resides in . . . the prevision of the violence imminent in the time that still remains. To be conscious is to have time. . . . To be free is to have time to forestall one’s own abdication under the threat of violence. (Totality and Infinity 232-7)

     

    Late in life, Lévinas described his “essential theme” as the replacement of a formal conception of time (in which past, present, and future are separate, continuous and essentially alike) with an examination of the conditions under which the past disappears and the future becomes imminent. What constitutes, he asks, “the passation of the past, the presentification of the present, and the futurition of the future?” (“The Other” 233). From this question we can discern what relation his ethics of the neighbor has to the experience of space and time as understood, for example, by Kant. Instead of being an a priori background (or matrix) within which ethical experience becomes possible, time for Lévinas is created by ethics. The ultimate product of ethics is more time, the postponement of death and suffering for the sake of others, and not right action for its own sake. For Lévinas, the highest aim is peace, not justice in any sense that might require breaching peace in the neighborhood.

     

    These differences between Lévinas and Kant are, I believe, prototypical of the difference between human rights discourse that purports to come “after Auschwitz” and earlier accounts of the Rights of Man. The metaphor of pastness is necessary to propagate the belief that genocide is now unthinkable, but for Lévinas, unlike for Kant, genocide could not become unthinkable in exactly the way that moving backward in time is unthinkable. Evil, in Lévinas, refers to a temporality of fearing others–a time of political and social struggle–that is adjourned by peace with one’s neighbor, which is a different kind of time (see Peace and Proximity 220-53 and Totality and Infinity 281-5).

     

    Peace, according to Lévinas, is the paradigmatic ethical relation between One and an Other in proximity–between Two. In a sense well-illustrated by the story of Girumuhatse’s return to the dwelling of his victims, “proximity is a disturbance of rememberable time” (“Substitution” 89). As a relationship of pure exteriority between two neighbors, each of whom can never know the other’s inner life, peace is entirely different in its origin and demands from the political pursuit of justice:

     

    Responsibility for the other human being is . . . anterior to every question. But how does responsibility obligate if a third party troubles this exteriority of the two where my subjection of the subject is subjection to the neighbor? The third party is other than the neighbor but also another neighbor, and also the neighbor of the other, and not simply their fellow. What am I to do? What have they already done to one another? . . . What, then, are the other and the third party with respect to one another? Birth of the question. (“Peace and Proximity” 168)

     

    Lévinas’s answer is to acknowledge that politics (or any scene of the Three) involves comparison, reciprocity, and equality that lie outside of ethics–which is always about peace rather than justice, and presumes human incommensurability. By openly removing questions of justice that do not involve interpersonal cruelty from the field of ethics, Lévinas provides a substantive account of what remains. His ethic of the neighbor can thus be considered a necessary complement to the politics-without-redistribution which today’s humanitarian ethic largely presupposes. Although Lévinas himself was not opposed to economic or other aid that may relieve useless suffering, for him the duty to rescue comes first. His view remains the only positive ethical account we have of what it could mean to treat the Holocaust as prime evil that does not refer us back to a story about who did what to whom in some previous moment like the present.

     

    It is, of course, possible to attack Lévinas using Carl Schmitt’s argument against the discourse of humanitarian intervention following the Treaty of Versailles: that it creates a casus belli against the forces of “inhumanity,” especially when they claim to be pursuing historical justice in ways that disturb the peace by treating the “other” as the “same” (Schmitt, The Concept of the Political 71). Suicide bombings would seem to be a paradigmatic example of this: encountering the other as a disguised human bomb would suggest that fear of her and fear for her are not as fundamentally distinct as Lévinas himself claims.45 When we rescue the suicide bomber are we saving her or ourselves? And if we murder her instead, what becomes of us? Do we reveal ourselves, like those whom Lévinas condemns, to be more afraid of dying than of killing? What does it mean for her to be equally unafraid of both? And does her self-chosen death qualify her as a martyr or a monster, whether or not she succeeds in bringing innocent others to their deaths along with her? In certain political “neighborhoods,” Lévinas’s concept of the ultimately unknowable human face can be both ethical and awful in ways that reopen the possibility of a horrifying response.

     

    The ethical temptation to treat suicide bombers as “inhumans” in human disguise applies a fortiori to the politics of third-party intervention raised at the beginning of this essay: when neighbors kill neighbors, whom do we rescue and whom do we attack? Is the third party in this situation just another neighbor? It is not clear that Lévinas would condone humanitarian intervention by force as what Ignatieff would call a “lesser evil,” but it is clear that for Lévinas suffering and even dying for others have ethical value for the person who undergoes them in a way that no other suffering does (“Useless Suffering” 94; see also Ignatieff, The Lesser Evil). He calls this value “patience,” a kind of morally valuable suffering that is the exception to his ethical condemnation of suffering in general.

     

    This ultimate passivity which nonetheless turns into action and into hope, is patience–the passivity of undergoing, and yet mastery itself. In patience disengagement within engagement is effected. . . . Extreme passivity becomes extreme mastery. . . . thus alone does violence remain endurable in patience. It is produced only in a world where I can die as a result of someone and for someone. (Totality and Infinity 238-9)

     

    Lévinas here speaks of patience in a sense that is more than narrowly philosophical. It is for him what makes otherwise useless suffering meaningful for a humanitarian intervener. For the intervener the ethical question is always one of patience: how long? Lévinas thus calls “the time of patience itself . . . the dimension of the political.” He says this because “in patience . . . the will is transported to a life against someone and for someone” (Totality and Infinity 240). Lévinas’s abhorrence of human suffering becomes ambiguous when it is undergone for moral reasons, such as rescuing the victims of atrocity or disaster or bringing suicide bombings to an end. The lesson that human rights discourse has drawn from its understanding of the Holocaust is both that suffering is meaningless when it is not for anyone and that sacrifices of those who rescue (at least to the extent of providing humanitarian aid) represents the “high-mindedness that is the honor of a still uncertain, still vacillating modernity, emerging at the end of a century of unutterable suffering.” Lévinas goes on to say,

     

    The just suffering in me for the unjustifiable suffering of the other, opens suffering to the ethical perspective of the inter-human. In this perspective there is a radical difference between the suffering in the other, where it is unforgivable to me, solicits me and calls me, and suffering in me. (“Useless Suffering” 94)46

     

    It would here seem that for Lévinas the commitment to treat suffering as useless (and, thus, to reject any theodicy that justifies evil) is limited to the suffering of the second-person, the one whom we encounter face-to-face. Pain that is undergone in the first person can be ethically meaningful when it is experienced as a compassionate response to the call for aid, thus bridging the gap that might otherwise exist between patience and ethics. Ironically (or not), this ethically significant suffering for others also describes the interiority of a Lévinasian third party (the peacekeeper) who intervenes between the two in order to stop the repetition of history and to create (ex nihilo) more time.47 For “the world community,” patience is what it means to put ethics ahead of politics.

     

    Although few, if any, contemporary political actors are directly influenced by him, Lévinas provides the most experientially accurate description of liberal humanitarian politics after Auschwitz. This politics represents itself as a morally useful way of feeling bad because one always comes too late to help and it is always too soon to make a final judgment. This is in practice what it means to put ethics first after Auschwitz, and still engage in politics. It also, however, reveals the incoherence of an ethical view that puts the condemnation of cruelty before all else, an ethics grounded in the seemingly “incontestable” condemnation of human suffering as self-evident evil. This incoherence, as I have already suggested, arises from the extraction of the neighborhood as a space for humanitarian ethics out of a prior conception of sovereignty that is both political and theological. Schmitt understood implicitly that politics is not simply a matter of one’s own life or death; it is also the imperative to protect friends and countrymen from the enemies that endanger them, an imperative that gives meaning to one’s own patriotic suffering, even if it ends in death. The politically driven individual, according to Schmitt, is ultimately willing both to die and to kill for others–he is, thus, potentially both rescuer and murderer. For Schmitt, the essential truth of politics is that the ethical duty to rescue one who is in danger presupposes that there is another who can be legitimately attacked for endangerment. He thus famously declares it is “the Sovereign . . .who decides on the exception,” and this includes, he takes pains to stress, the exceptions to our compassion for the suffering of others (Political Theology 5). For Schmitt, there is always an enemy (real or imagined) when one comes to the aid of a friend; and always a friend (real or imagined) when one does violence to an enemy. Because my relations to a sovereign third are always prior to my direct relations of hospitality with or hostility for another, politics is presumed to come before ethics.

     

    There is no one whom Lévinasian ethics opposes more than Schmitt–we have here the refugee versus the Nazi–yet their two views are structurally homologous. Both Schmitt and Lévinas would agree that politics arises in the space of the three, and ethics in the space of the two. Lévinas, however, merely suggests that the introduction of a third into the ethical space gives birth to new political questions about justice that do not in themselves eclipse the ethical problem of cruelty face-to-face. Schmitt, in his stress on the constitutive role of enmity in creating the space of friendship, never speaks to the face-to-face responsibilities friends have to each other–a topic stressed by his younger contemporary, Hannah Arendt, who was also primarily concerned with the political.48

     

    What is fundamentally common to Schmitt and Lévinas is their replacement of an Hegelian view of politics as a struggle for recognition arising from an originary battle-to-the-death with the view that the originary relationship is, rather, between rescuer and victim, always in the presumed presence of some third whose ethical position is unknowable. This is the core conceptual structure of humanitarian ethics (as opposed to both revolutionary and totalitarian ethics). It explains why the duty to rescue and the right to wage war are born together in the sovereign act that distinguishes the space of ethics from the purely political. At the end of a century dominated by the dialectic of revolution and counter-revolution, a turn to Lévinas and/or Schmitt can help us understand the post-Cold War linkage between the global and the local as at once a humanitarian relation between rescuers and victims and a political doctrine of pre-emptive third party intervention.

     

    Fidelity, Justice, and the Value of Suffering

     

    We have seen that in humanitarian ethics after Auschwitz, the duty of rescuers toward victims receives primacy over all claims based on a political good that purports to supersede such a duty. No one has gone further than Lévinas in exploring the implications of this shift for pre-existing notions of ethical responsibility in relation to the political, and no one has attacked humanitarian ethics for its implicitly Lévinasian core more pointedly than Badiou.

     

    The essence of Badiou’s attack is that humanitarian ethics is nothing other than a politics–in fact, the politics of victimhood.

     

    [This] . . . ethics subordinates the identification of [the universal human Subject] to the universal recognition of the evil that is done to him. Ethics thus defines man as a victim. It will be objected: ‘No! You are forgetting the active subject, the one that intervenes against barbarism! So let us be precise: man is the being who is capable of recognizing himself as a victim. (Ethics 10)

     

    Badiou’s critique of the politics of victimhood is, first, that it implicitly reproduces the evils of imperialism in a humanitarian guise.

     

    Who cannot see that this ethics which rests on the misery of the world hides, behind its victim-Man, the good-Man, the white-Man? Since the barbarity of the situation is considered only in terms of “human rights”–whereas in fact we are always dealing with a political situation. . . . Every intervention in the name of a civilization requires an initial contempt for the situation as a whole, including its victims. And this is why the reign of “ethics” coincides, after decades of courageous critiques of colonialism and imperialism, with today’s sordid self-satisfaction in the “West,” with the insistent argument according to which the misery of the Third World is the result of its own incompetence, its own inanity–in short, of its subhumanity. (13)

     

    Two further objections, Badiou says, follow from this: one is that an ethics grounded in our direct recognition of evil through atrocity stories and the like tends to dismiss any positive conception of the Good as merely desensitizing us to the cruelties committed in its name; the other is that, by attributing Evil to our general insensitivity to the pain of others, humanitarian ethics “prevents itself from thinking the singularity of situations as such” (13-14). Beyond these criticisms, however, is a more profound point that goes to the heart of the Lévinasian view: Badiou argues that humanitarian ethics is “nihilist because its underlying conviction is that the only thing that can really happen to someone is death” (35). Humanitarian ethics thus oscillates, according to Badiou, between the implicit conservatism of Western beliefs about “the victimary essence of man” and a nearly pornographic fascination with the power to decide about seemingly exotic victims (because “we” can always intervene) who will die and who will not (34-9).

     

    As a political critic of Lévinasian ethics, Badiou is in my opinion on the right track, but his ethical argument depends upon the claim that “something can really happen to someone” that matters more than death. He calls this ethically transformative happening within a “situation” an “event.” But Badiou’s formal definition of the “event” is not in itself illuminating, and may even be circular. What matters for his argument against humanitarian ethics is his substantive assertion that human suffering and death are not “events” in the ethically relevant sense of demanding a life lived in fidelity to their universal “truth.” Badiou’s point is partially correct insofar as my death is not an event in my life in this or any other sense–but there is no good reason why my own intense suffering or my exposure to the suffering or mass murder of others may not be an event that is ethically transformative of my life. Indeed, humanitarian ethics is based on the proposition that Auschwitz was precisely this kind of transformative event, and that nothing can be the same for humanity thereafter.

     

    Contrary to Badiou’s assertion, Auschwitz as a trope of inhumanity can, and does, demand fidelity to the truth of what happened there. A subsequent “Politics of Memory” means nothing if it is not grounded on the ethical virtue of fidelity to that event. Auschwitz would not qualify as an “event” for Badiou because he thinks that (unlike the storming of the Bastille or the October Revolution) the “truth” of Auschwitz is not universal–it does not have the same significance for everyone.49 This argument, however, rests on the assumption–ultimately empirical–that fidelity to Auschwitz gives special significance to the death of Jews (or any other victim group, such as Christian Poles and Roma who are also commemorated). Humanitarian ethics claims, rather, that the Holocaust now has the “universal” meaning embodied in the 1948 Genocide Convention, that genocide as such (the extermination of particular groups) should “never again” occur (see Lemkin and Power, “A Problem from Hell,” chs. 1-4). We have here, in other words, a standard Hegelian claim about the universal manifesting itself through the particular that is an apparent a counterexample to Badiou’s formal assertion that particular atrocities cannot attain the universal significance of ethical truth.

     

    Badiou’s rejection of humanitarian ethics is, thus, implausible if it rests only on the claim that atrocity-events cannot take the form of universal ethical truths without the further distinction he draws between an ethical truth and what he regards as its “simulacrum” or “corruption.” For Badiou, Nazi genocide was no more an event than Nazism itself, which, he says, was merely a reaction to the genuine event of the Russian Revolution, and hence a simulacrum.50 Fidelity to a simulacrum, according to Badiou, produces a singularity of terror, as opposed to the desirable militancy of universal truth.51

     

    Badiou concedes, however, that “Nazi politics was not a truth process, but it was only in so far as it could be represented as such that it ‘seized’ the German situation” (66).52 He then goes on to concede that the Nazi seizure of power in 1933 was “formally indistinguishable from an event” (73, 117). In contrast to Nazi terror, Badiou regards Stalinist and Jacobin terror as “corruptions” of the genuine events of 1917 and 1789, respectively–a bit better than simulacra, but not much.

     

    In resting his argument against humanitarian ethics on our ability (or his) to recognize directly the difference between a truth and simulacra or corruption, Badiou deliberately opens himself to the charge that a politics of fidelity to truth, now common to both Left and Right, was responsible for the cruelties of the twentieth century. Nevertheless, Badiou’s principal expositor, Peter Hallward, presents this as a virtue: Badiou deliberately opens himself to the charge that a politics of fidelity to truth, now common to both Left and Right, was responsible for the cruelties of the twentieth century. Nevertheless, Badiou’s principal expositor, Peter Hallward, presents this as a virtue:

     

    Badiou is one of the very few contemporary thinkers prepared to accept the certainty of violence and the risk of disaster implicit in all genuine thought. . . . Since evil is something that happens to a truth or in proximity to truth, there can be no fail-safe defense against evil that does not foreclose the possibility of truth. (257, 264)

     

    The essence of Badiou’s position is that, even after Auschwitz, there can be genuine events–revolutionary openings–and that serious political thought must allow for this possibility by placing political militancy ahead of all other ethical claims that the event calls forth. Yet Badiou’s formal definition of an “event” makes him no less dependent on subjective consensus than are his humanitarian opponents, who ground ethics on our ability to know an atrocity when we see it. Badiou’s account of fidelity to events as the ethics of political action adds little to what we ordinarily mean by “revolution,” as distinguishable, for example, from a reaction or a counterrevolution. To “keep on acting in fidelity to an event” is, thus, indistinguishable from conforming oneself to the possibility that revolution can occur, and thus militantly opposing the forces of reaction and counterrevolution by naming them as such (see Bensaid 94-105). This being said, Badiou’s conceptions of the “event” and of “truth” add nothing but a level of abstraction to our understanding of revolution, reaction and counterrevolution–and are not readily intelligible without relying on these notions.

     

    Badiou’s particular notion of “fidelity” is, however, a genuine contribution to the ethics of revolutionary thought. Fidelity is typically dismissed by secularists ethics as the virtue that a convert (or “true believer”) claims instead of personal empathy or compassion. Badiou agrees with Lacan, however, that fidelity can be a virtue nonetheless, and that questions of fidelity, perseverance, and betrayal lie at the core of ethics.53 For Lacan this ethical fidelity is to the Real of one’s desire, and thus involves a relation to others that exceeds the imagery and symbols through which conscious feelings, like compassion, are experienced. For Badiou the object of fidelity is not a desire but an event, which is not just a memory but rather something more like a revelation–a temporal interruption of logical relationships that binds the subject through belief (Badiou, “Eight Theses” 150). It seems to me undeniable, however, that some who practice the ethics of “Never Again” (and the associated “Politics of Memory “) do in fact claim the virtues associated with fidelity to an event so defined.54 So Badiou’s account of fidelity is not in itself a reason to reject the Ethic of No-Evil in favor of the militant revolutionary ethics for which he calls. “Fidelity, ” as Badiou understands it, is the internal ethic associated with any militant politics, including the politics of rescuing victims from their foes under the humanitarian banner of putting ethics first.

     

    The kernel of Badiou’s objection to humanitarian ethics lies neither in his formal account of what ethics is nor his embrace of fidelity as a virtue, but rather in his substantive claim that the suffering/martyrdom of the flesh is not an independent source of ethical value. The most sustained presentation of Badiou’s view occurs in his book on Saint Paul. Paul is here presented as the paradigm of ethical militancy based on a conversion event and faithful adherence to its truth. I am less concerned, however, with Badiou’s account of what fidelity to Christ meant for Paul, than with his account of the Christian event itself. The burden of Badiou’s argument is that, according to Paul, it was the resurrection and not the crucifixion that constitutes the universal “event” to which Christians maintain fidelity (see Badiou, Saint Paul, ch. 6). Why? Because death and suffering were old hat for mankind, but rebirth and eternal life were something new in the world and are now promised to all who believe:

     

    For Paul himself . . . the event is not death, it is resurrection. . . . Suffering plays no role in Paul’s apologetic, not even in the case of Christ’s death. The weak, abject character of that death is certainly important for him, insofar as the treasure of the event . . . has to reside in an earthen vessel. But for Paul . . . the share of suffering is inevitable. . . . [I]n Paul there is certainly the Cross, but no path of the Cross. There is Calvary, but no ascent to Calvary . . . Paul’s preaching includes no masochistic propaganda extolling the virtues of suffering, no pathos of the crown of thorns, flagellations, oozing blood, or the gall-soaked sponge. . . . What constitutes the event in Christ is exclusively the Resurrection. (Saint Paul 66-8)

     

    One sees what Badiou means about Paul–he was no Mel Gibson–and his fidelity to Christ has characteristics in common with Lenin’s fidelity to Marx in 1917 (7; see also Zizek, “Afterword: Lenin’s Choice”). Badiou, however, gives no good argument against interpreting Paul’s Christianity as the faith that Christ’s suffering and death atoned for the sins of mankind, an article of Christian faith which can be held quite separately from a belief in Christ’s bodily resurrection.55

     

    Although Badiou fails to demonstrate convincingly that Christ’s Passion, or, for that matter, Auschwitz, could not qualify (for purely formal reasons) as an event to which fidelity is possible, he does reopen the possibility that mass atrocities are not the only events that qualify, and that political revolutions (even or especially those that failed) might also be ethically transformative–not because of those who died, but because of the hopes for justice that were raised.

     

    Does this mean that we must leave the argument here–as a choice between martyrdom and revolution, between an ethics of fear that Auschwitz will be repeated and one of hope for a future justice? Are we stuck at the present moment between the humanitarianism of Lévinas and Badiou’s radicalism, rooted in an extreme claim for the autonomy and primacy of politics?

     

    If I thought this were our choice, I would reluctantly side with Badiou: my general preference is for action rather than patience; justice rather than peace; politics rather than ethics; and, perhaps, also for truth rather than feeling. But the most serious arguments that Badiou gives for his alternative to Lévinasian ethics are not themselves ethical, but rather mathematical. They concern the way that set theory represents the truth of the exception (“what happens”) within the ontological set of “what is” (see Badiou, “The Event as Trans-Being”). The ethical relevance Badiou draws from set theory is that truths of this kind can be added to languages and bodies as the raw subject matter of ethics. If ethics were concerned only with languages and bodies–meaning and pain–then ethics would be a matter of understanding others’ minds while rescuing their bodies; but because there are also truths, Badiou argues, ethics opens the possibility of fidelity to something more real than our present situation, and something that is constitutively outside it. This, of course, assumes that both ontology and politics precede ethics–that “what there is” is affected by “what happens” through subjective fidelity to the hope that there can be something more.

     

    But Lévinas makes an ethical argument against all of these assumptions: What if Badiou’s fidelity to the event were to cause pain in the sense of useless suffering for the other? If insensitivity to that pain is the ultimate evil, then is this not an ethical argument against actions thought be consistent with the truth of an event such as the Russian Revolution, or May ’68? Is it ethically wrong to place the ontological truth of what happened then ahead of the feelings of others now? Why, ethically speaking, must we seek anything more?

     

    A Lévinasian objection to Badiou would hold, I think, if physical suffering is the worst evil, save for the willingness to condone such suffering in others. We can, however, question the conception of ethics and human agency that presupposes, even after Auschwitz, that bodily pain and physical cruelty are the two worst things, unconditionally, and that ethics is about nothing more. What do suffering subjects lack and want that politics (and its accompanying fantasies) supply? How do we expect them to feel about themselves, and the rest of us, when these political fantasies take hold–and what are we, and they, permitted to do with such expectations? What are the specific ethical views of suffering and human agency that lie behind present-day humanitarian discourse, and what forms of politics do they allow and disallow? Answering these questions will allow us to say more about what is wrong with the moral psychology of victimhood, beyond observing that the pursuit of justice is missing from it at any level but that of face-to-face interactions.

     

    91. First, however, we must question the generality of the core assumption behind all humanitarian ethics: that pain has no moral meaning for those who suffer it. In a brilliant article, the political anthropologist Talal Asad challenges the claim that, after Auschwitz, our primary ethical responsibility must be to alleviate pain and to avoid causing it. This view, he argues, denies agency to those who suffer pain–it assumes they do not suffer willingly–and invests agency in those who aid them. It denies the intelligibility and efficacy of a moral view in which pain (of certain kinds and at certain times) is actively sought as a way of achieving or representing moral virtue:

     

    Christian and Islamic traditions have, in their different way, regarded suffering as the working through of worldly evil. For the suffering subject, not all pain is to be avoided; some pain must be actively endured if evil is to be transcended. (“Thinking” 92)

     

    Asad’s point here brings us back to the moral imperative of “Never Again.” The humanitarian ethics that took root a half-century after Auschwitz repudiates, above all, the belief that human suffering has moral significance for those who undergo it, and therefore argues that we must not turn away. Although there are many other compelling reasons not to turn away when atrocities occur, the view that human suffering is the ultimate evil is not the right one. Moral agency, Asad suggests, is psychosomatic, in potentially good ways: it can induce states of bodily agony that saints, martyrs, and their acolytes regard as valuable achievements, and also (we might add) states of happiness (eudaimonia) that are at once mental and physical in a strong Socratic sense that removes the agony of death (see Vlastos 200-35). Even Lévinas acknowledges, as we have seen, the distinction between useless suffering and morally valuable suffering–between pain that is inflicted and pain that is actively sought on behalf of others, or as a way to improve or expiate one’s soul. The former can be understood through the post-Freudian concept of trauma–pain that may or may not be conscious when first suffered, and that may be repeated even when it is not remembered. It is primarily trauma (with its tendency to repetition) that is consciously experienced as happening again, and is, thus, the appropriate target of the imperative “Never Again.”

     

    Morally significant pain–the pain of love, sacrifice, and even martyrdom–is better designated by the word “agony.” Agony may be no less intense than trauma, but it is never suffered unconsciously. Agony, moreover, is not something that is generally experienced by the sufferer or by bystanders to be happening again, but is something to be remembered and even honored as a moral singularity. Suffering agony (or religious passion) is generally considered to be morally transformative, and is sometimes actively sought. For this reason, stories of agony, the agony of saints and martyrs in particular, are considered to be exemplary, and sometimes (as in the passion of Christ) to serve as redemptive sacrifices on behalf of the community as a whole (pace Badiou’s interpretation of Paul).56

     

    Humanitarian ethics after Auschwitz reflects a cultural tendency to respond to all agony (whether moral or not) as though it were psychological trauma that becomes worse through the experience of repetition. This tendency severely truncates our own moral vocabulary in dealing with our feelings towards those whom we do and don’t aid, and makes us less and less capable of grasping the moral psychology of those who are capable of killing and dying for reasons of political theology. To make this point, however, we need not deny (with Lévinas) that events are morally compelling along with languages and bodies; nor need we deny (along with Badiou) that historical trauma can constitute events of a morally compelling kind, alongside revolutions. It is enough to say that physical suffering, the body in pain, is not an ethical absolute that renders moot political analysis and politically motivated action.

     

    Once we stop using ethics as an evasion of politics, the ways in which the ethics of the neighbor are also a politics come into clear view. Thinking politically, we can decide when and whether to dehistoricize, to spatialize, and to localize broader problems–and when to rely on the compassion of the television-viewing public by presenting images of pain. We can also see once again that there is ethical virtue in struggle and not only in reconciliation; in action and not simply in patience; in justice and not only in peace. Finally, we can focus our appropriate concern with human suffering as much on the global forces that operate at a distance as on cruelties committed face-to-face.

     

    Notes

     

    The author is grateful to the University of California Humanities Research Institute for financial and other support, to Kenneth Reinhard for convening the group, and for the exceptionally helpful comments on earlier drafts of this paper (as well as the larger project of which it is a part) by the subgroup on “The Ethics and Politics of Proximity”: Rei Terada, Dana Cuff, and Eleanor Kaufman.

     

    1. For distinguished recent contributions see Power, “A Problem From Hell,” and Ignatieff, Human Rights as Politics and Idolatry.

     

    2. I here adapt a formulation from Badiou’s Languages of Worlds (forthcoming).

     

    3. For recent examples see Card; Neiman; Glover; Copjec; Nino; Agamben, Remnants of Auschwitz; Cohen, Interrupting Auschwitz; and, most notably, Adorno.

     

    4. The claim here is not that genocide arises only in periods of colonialism, but rather that the framework in which genocide becomes thinkable derives from the moral logic of colonialism.

     

    5. For the relation between these two points of origin, see Seed.

     

    6. For a recent discussion of the Haitian paradigm in the work of C.L.R. James, see Scott.

     

    7. See Todorov, who puts the conquest of the New World in the context of the Reconquista of Spain and the Inquisition.

     

    8. See Agamben, Homo Sacer for a critical genealogy of the present-day conception of the sacredness of life as the foundation of human rights. For the political implications of this development, see Rancière.

     

    9. See Gross, Gourevitch, and Lindqvist, Exterminate the Brutes. On “exterminism” as both a policy and a fantasy, see Goldhagen, esp. parts I and VI.

     

    10. See Hesse and Post. For a discussion of transitional justice following the U.S. Civil War, see Meister, “Forgiving and Forgetting.”

     

    11. See Kateb. See also Shklar, “The Liberalism of Fear” and “Putting Cruelty First.” For a further discussion of Shklar’s argument, see Meister, “The Liberalism of Fear and the Counterrevolutionary Project.”

     

    12. Cf. Badiou, Ethics 10ff and Meister, “Human Rights and the Politics of Victimhood.”

     

    13. See Klein, “Mourning and its Relation to Manic-Depressive States” and “Some Reflections on the Oresteia.” See also Segal.

     

    14. See Klein’s “Notes on Some Schizoid Mechanisms,” and “A Contribution to the Psycho-genesis of Manic-Depressive States.” See also entries 9, 11, and 13 in Hinshelwood’s Dictionary.

     

    15. See Rorty for arguments grounding human rights on our subjectively contingent capacity to “feel for each other.”

     

    16. “My awareness of my ethical obligation must not depend on any ‘gesture’ of claiming (literally or figuratively) to ‘comprehend’ the other” (Putnam 55, and see 41, 54).

    17. Freud, Totem and Taboo 161; Group Psychology 57-146; Moses and Monotheism 1-138.

     

    18. See Glover, Rummel, and Power, “Never Again” and “A Problem From Hell”. The concept of “genocide” itself was invented by legal scholar Raphaël Lemkin immediately after World War II, based on his seminal study of Nazi policies toward the populations of occupied countries.

     

    19. Zizek, in Welcome to the Desert of the Real, discusses 9/11 in the context of such films as “Independence Day” and “The Matrix,” which prepared us at the level of fantasy to experience ourselves as the objects of destructive desire when the attacks actually occurred. His psychoanalytic point, not fully spelled out, is that “terror” is what we expected ourselves to feel in these circumstances–it was not the real trauma, but rather its fantasmatic symptom.

     

    20. Certain genres of pornography also take a position of moral revulsion toward what is being shown. See Dean, ch. 1.

     

    21. I leave aside the question of how widely political leaders who invoke such dangers are believed, or how openly they acknowledge the genocidal acts that are rationalized on such grounds.

     

    22. On these conventions, see Sontag and Dean, ch. 3.

     

    23. For a dissection of press accounts of ex-Yugoslavia in the 1990s, see Feher.

     

    24. The Wilsonian antidote to a history of political victimization was nationhood–the right to be sovereign somewhere, even if it was somewhere else. His internationalism describes a system for protecting the sovereign coequality of self-determining “peoples.” “All peoples and nationalities” have a right, he said, “to live on equal terms of liberty and safety with one another, whether they be strong or weak” (Wilson 445f.).

     

    25. Wilson’s view of the protection of minority rights in the international system is a variant of Marshallian federalism in which the local majority in a state becomes the virtual representatives of resident out-of-state minorities, thereby respecting on an equal basis their right to rule, albeit elsewhere. In Wilsonian internationalism, as distinct from Marshallian federalism, the main mechanisms for protecting individual human rights are political rather than judicial. Therefore, the principle of virtual representation has to be reversed. Instead of saying that foreign minorities are to be treated as well as the local majority treated itself, the implicit standard is the treatment that foreign majorities accord to their minorities. The link between Marshallian federalism and Wilsonian internationalism is further developed in Meister, “Sojourners and Survivors.” See also Meister, “The Logic and Legacy of Dred Scott.”

     

    26. For discussions of the implementation of these ideas in the interwar period, see Claude and Maier.

     

    27. “Well-founded fear of persecution” is the threshold condition for claims to political asylum under international law.

     

    28. In the words of one scholar, “the effort of the state to become a nation aroused the determination of the nation to become a state” (Claude 9).

     

    29. This view has been recently restated as a comprehensive theory of “deliberative democracy,” as distinguished from “aggregative democracy.” See Gutmann and Thompson, Why Deliberative Democracy? and Democracy and Disagreement. See also Koh and Slye. The standard rationale for majority rule as a technique of aggregative democracy is given in Sen, chs. 5 and 5*. For a balanced critique of both aggregative and deliberative conceptions of the common good, see Shapiro, chs. 1-2.

     

    30. My account of Rwanda follows Mamdani’s. For a schematic version of his argument, see “Race and Ethnicity.”

     

    31. For a discussion of the Clinton administration’s failure to act see Power’s “Bystanders to Genocide” and A Problem from Hell, ch. 10. The failures of the UN mission are described by its commander on the ground in Dallaire.

     

    32. In the end, the policy of extermination did not involve popular mobilization. In the context of our overall argument, we should note that the techniques and concepts of the Holocaust were originally developed by German settler colonialism in Southwest Africa to exterminate the Herero natives. See Mamdani, When Victims Become Killers 10-13 and the sources cited therein.

     

    33. See Tutu, ch. 11; for a secular version of this argument, see Mamdani, When Victims Become Killers 270-282. Mamdani points out that in Rwanda there was not the problem of ongoing beneficiaries that both South Africa and the U.S. faced, and so forgiveness would not stand in the way of redistribution. (Kagame, who commanded the invading Tutsi army, was then Vice-President of Tutsi-ruled Rwanda, and is now President.)

     

    34. Are the murderous thoughts on which the politics of victimhood rests unconsciously directed, as Freud’s theory of depression suggests, against those who died the first time? And is the politics of “never again” really a way of saying “not yet” to their deaths? See Freud’s “Mourning and Melancholia.”

     

    35. Was this outcome forestalled in South Africa just in the nick of time? In the 1980s a dystopic literature was produced by liberal white South Africans imagining what it would be like for disgraced whites to live in a post-revolutionary, black-ruled, country. See Gordimer. For a parable reflecting the actual experience of white South Africans in the post-apartheid 1990s, see Coetzee’s Disgrace, which confronts the possibility of confession without atonement.

     

    36. For further development of these points, see Meister, “Sojourners and Survivors.”

     

    37. See Höhne, chs. 13-14, esp. 333-9. This period in Eichmann’s life is well-described in Arendt’s Eichmann in Jerusalem 58-64.

     

    38. These were the words of Eichmann’s prosecutor, Gideon Hausner. See Segev, ch. 6. For an account of how the trial and Arendt’s critique of it were received by Diaspora Jewry, see Novick, ch. 7.

     

    39. See Shklar, Legalism 143-179, Kirchheimer, Bass (chs. 1 and 5), and Douglas.

     

    40. The concerns are directly and clearly expressed in Arendt’s correspondence with Jaspers before, during, and after the trial. See Hannah Arendt/Karl Jaspers Correspondence. The most relevant letters are scattered over pp. 400-500.

     

    41. This secularized description of the Jewish ethics of the neighbor really does make Jews responsible for all the suffering of humanity–but in a good way, and not because they have somehow benefited from the injustice done to other groups.

     

    42. This conception of alterity as a relation with the other’s unconscious is proposed by Santner; see 9, 82. Santner does not, however, refer to the condition he describes as “extimacy.”

     

    43. See Rieff, Part I, and Kennedy 13-35 and 296-316. The humanitarian response tends to be “lesser evil ethics.” See Ignatieff, The Lesser Evil.

     

    44. “The wish to lend a sacrificial aura to the extermination of the Jews by means of the term ‘Holocaust’ was from this perspective an irresponsible historiographical blindness. The Jew living under Nazism is . . . a flagrant case of a homo sacer in the sense of a life that may be killed but not sacrificed. . . .The truth–which is difficult for victims to face, but which we must have the courage not to cover with sacrificial veils–is that the Jews were exterminated not in a mad and giant holocaust but exactly as Hitler had announced, ‘as lice,’ which is to say, as bare life” (Agamben, Homo Sacer 114).

     

    45. The paradoxes in our ethical responses to suicide bombings are explored by Rose.

     

    46. It is not entirely clear, by the time one comes to the following page, whether Lévinas is endorsing or caricaturing this view of the moral pain of third parties–the two interpretations are, perhaps, not mutually exclusive. In the footnote to this passage he explains: “This suffering in me is so radically mine that it cannot become the subject of any preaching. It is as suffering in me and not as suffering in general that welcome suffering–attested to in the spiritual tradition of humanity–can signify a true idea: the expiatory suffering of the just who suffers for others.”

     

    47. In Lévinas’s secular theology, time is always created: it arises out of the ethically anterior relationship between the two and a Third who stands outside and suffers for their cruelty, but not from it.

     

    48. See Arendt, The Human Condition 28-58; “Some Questions of Moral Philosophy”; and “Thinking and Moral Considerations.” Derrida fills the ethical lacunae in Schmitt’s concept of “friend” in The Politics of Friendship, chs. 4-6.

     

    49. See Badiou, Ethics 72-77. Badiou’s alternative to “Ethics as non-Evil” is to define evils as the series of ordinary horrors that follow from pursuing with fidelity a non-truth as though it were a truth.

     

    50. For Badiou’s discussions in English of the political “event” see Ethics, chs. 4-5. See also “The Event as Trans-Being” in Theoretical Writings 97-102, and Manifesto for Philosophy, ch. 8. See also Hallward, ch. 5.

     

    51. This analysis is suggested in Badiou’s forthcoming Logics of Worlds.

     

    52. For Badiou’s critique of the attempt to “radicalize” the evil of Hitler, see 62-7. His description of Marx as “an event for political thought” is on 69. He also describes the Cultural Revolution and May 1968 as events the fidelity to which produces “a truth” (42). In the unpublished manuscript of Logics of Worlds, he makes similar statements about Russia in 1917, German Spartacism, and even Spartacus himself.

     

    53. “The only thing of which one can be guilty is having given ground relative to one’s desire” (Lacan 319).

     

    54. See Power, “A Hero of Our Time.” Power here praises the ethics of Gen. Roméo Dallaire; her own unflinching reports on genocide display similar virtues.

     

    55. Stress on the relation of Christ’s death to Jewish concepts of atonement is, in contrast, fundamental to Taubes.

     

    56. For an account of the classical genre of spiritual biography in which the Gospels were written, see Hadas and Smith. See also Boyarin, Dying for God.

    Works Cited

     

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    • Brilmayer, Lea. “Carolene, Conflicts, and the Fate of the ‘Inside Outsider.’” University of Pennsylvania Law Review 134 (1986): 1291-1334.
    • Brown, Norman O. Love’s Body. New York: Vintage, 1966.
    • Card, Claudia. The Atrocity Paradigm: A Theory of Evil. Oxford: Oxford UP, 2002.
    • Churchill, Ward. A Little Matter of Genocide: Holocaust and Denial in the Americas, 1492 to the Present. San Francisco: City Lights, 1997.
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    • Cohen, Josh. Interrupting Auschwitz. New York: Continuum, 2003.
    • Cohen, Stanley. States of Denial: Knowing About Atrocities and Suffering. Cambridge: Polity, 2001.
    • Copjec, Joan. Radical Evil. London: Verso, 1996.
    • Dallaire, Roméo A. Shake Hands with the Devil: The Failure of Humanity in Rwanda. New York: Carrol & Graf, 2004.
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    • Dean, Carolyn J. The Fragility of Empathy After the Holocaust. Ithaca: Cornell UP, 2004. 16-42.
    • Derrida, Jacques. The Politics of Friendship. Trans. George Collins. London: Verso, 1997.
    • —. “Violence and Metaphysics.” Writing and Difference. Trans. Alan Bass. Chicago: U of Chicago P, 1978. 79-153.
    • Douglas, Lawrence. The Memory of Judgment: Making Law and History in the Trials of the Holocaust. New Haven: Yale UP, 2001.
    • Elster, Jon. “Majority Rule and Individual Rights.” On Human Rights: The Oxford Amnesty Lectures 1993. Ed. Stephen Shute and Susan Hurley. New York: Basic, 1993. 175-216.
    • Ely, John Hart. Democracy and Distrust. Cambridge: Harvard UP, 1980.
    • Fanon, Frantz. Black Skin, White Masks. London: Paladin, 1970.
    • —. The Wretched of the Earth. Trans. Constance Farrington. New York: Grove, 1968.
    • Feher, Michel. Powerless by Design. Durham: Duke UP, 2000.
    • Freud, Sigmund. Group Psychology and the Analysis of the Ego. Standard Edition Vol. 18. 65-144.
    • —. Moses and Monotheism: Three Essays. Standard Edition Vol. 23. 1-138.
    • —. Mourning and Melancholia. Standard Edition Vol. 14. 237-60.
    • —. Standard Edition of the Complete Psychological Works of Sigmund Freud. Ed. James Strachey. 24 vols. London: Hogarth and the Institute of Psychoanalysis, 1957.
    • —. Totem and Taboo. Standard Edition. Vol 13. 1-162.
    • Glover, Jonathan. Humanity: A Moral History of the Twentieth Century. New Haven: Yale UP, 2000.
    • Goldhagen, Daniel Jonah. Hitler’s Willing Executioners: Ordinary Germans and the Holocaust. New York: Vintage, 1997.
    • Gordimer, Nadine. July’s People. New York: Penguin, 1981.
    • Gourevitch, Philip. We Wish to Inform You That Tomorrow We Will be Killed with Our Families: Stories from Rwanda. New York: Farrar, 1998.
    • Gross, Jan T. Neighbors: The Destruction of the Jewish Community in Jedwabne, Poland. Princeton: Princeton UP, 2001.
    • Guinier, Lani. Tyranny of the Majority: Fundamental Fairness in Representative Democracy. New York: Free, 1995.
    • Gutmann, Amy, and Dennis F. Thompson. Democracy and Disagreement. Cambridge: Belknap P of Harvard UP, 1996.
    • —. Why Deliberative Democracy? Princeton: Princeton UP, 2004.
    • Hadas, Moses, and Morton Smith. Heroes and Gods: Spiritual Biographies in Antiquity. Freeport: Arno, 1965.
    • Hallward, Peter. Badiou: A Subject to Truth. Minneapolis: U of Minnesota P, 2003.
    • Hesse, Carla, and Robert Post. “Introduction.” Justice in Transitional Societies Gettysburg to Bosnia. Ed. Hesse and Post. New York: Zone, 1999. 13-36.
    • Hinshelwood, R.D. A Dictionary of Kleinian Thought. Northvale: Jason Aronson, 1991.
    • Höhne, Heinz. The Order of the Death’s Head: The Story of Hitler’s SS. New York: Coward McCann, 1970.
    • Hunt, Lynn. The Family Romance of the French Revolution. Berkeley: U of California P, 1992.
    • Ignatieff, Michael. Human Rights as Politics and Idolatry. Princeton: Princeton UP, 2001.
    • —. The Lesser Evil: Political Ethics in an Age of Terror. Princeton: Princeton UP, 2004.
    • Kateb, George. “On Political Evil.” The Inner Ocean: Individualism and Democratic Culture. Ithaca: Cornell UP, 1992. 199-221.
    • Kennedy, David. The Dark Sides of Virtue: Reassessing International Humanitarianism. Princeton: Princeton UP, 2004.
    • Kirchheimer, Otto. Political Justice: The Use of Legal Procedure for Political Ends. Princeton: Princeton UP, 1968.
    • Klein, Melanie. “A Contribution to the Psycho-genesis of Manic-Depressive States.” Love, Guilt, and Reparation and Other Works 1921-1945. London: Virago, 1988. 262-89.
    • —. “Mourning and its Relation to Manic-Depressive States.” Love, Guilt, and Reparation and Other Works 1921-1945. London: Virago, 1988. 344-69.
    • —. “Notes on Some Schizoid Mechanisms.” Envy and Gratitude and Other Works 1946-63: The Writings of Melanie Klein. Vol. 3. Ed. R.E. Money-Kyrle. New York: Free, 1964-75. 1-24.
    • —. “Some Reflections on the Oresteia.” Envy and Gratitude and Other Works 1946-63: The Writings of Melanie Klein. Vol. 3. Ed. R.E. Money-Kyrle. New York: Free, 1964-75. 275-300.
    • Koh, Harold Hongju, and Ronald C. Slye, eds. Deliberative Democracy and Human Rights. New Haven: Yale UP, 1999.
    • Lacan, Jacques. The Ethics of Psychoanalysis: 1959-1960. Ed. J. A. Miller. Trans. Dennis Porter. New York: Norton, 1988.
    • Lemkin, Raphaël. Axis Rule in Occupied Europe. Washington, D.C.: Carnegie Endowment for International Peace, 1944.
    • Lévinas, Emmanuel. “Diachrony and Representation.” Entre Nous 159-178.
    • —. Difficult Freedom: Essays on Judaism. Baltimore: Johns Hopkins UP, 1990.
    • —. Entre Nous: Thinking-of-the-Other. Trans. Michael B. Smith and Barbara Harshav. New York: Columbia UP, 1998.
    • —. “From the One to the Other: Transcendence and Time.” Entre Nous133-54.
    • —. “Peace and Proximity.” Emmanuel Lévinas: Basic Philosophical Writings. Ed. Adrian Peperzak, et. al. Bloomington: Indiana UP, 1996.
    • —. “Substitution.” Otherwise Than Being or Beyond Essence. Trans. Alphonso Lingis. Pittsburgh: Duquesne UP, 1998. 99-129.
    • —. Time and the Other and Additional Essays. Trans. Richard A. Cohen. Pittsburgh: Duquesne UP, 1987.
    • —. Totality and Infinity: An Essay on Exteriority. Trans. Alphonso Lingis. Pittsburgh: Duquesne UP, 1969.
    • —. “Useless Suffering.” Entre Nous 91-102.
    • Lijphart, Arend. Democracy in Plural Societies. New Haven: Yale UP, 1980.
    • Lindqvist, Sven. Exterminate the Brutes: One Man’s Odyssey into the Heart of Darkness and the Origins of European Genocide. New York: New, 1992.
    • —. A History of Bombing. New York: New, 2000.
    • Maier, Charles S. “Unsafe Haven: Why Minorities-Treaties Fail.” New Republic 207.16 (October 1992): 20.
    • Mamdani, Mahmood. “Race and Ethnicity as Political Identities in the African Context.” Keywords/Identity: For a Different Kind of Globalization. Ed. Nadia Tazi. New York: Other, 2004. 4-8
    • —. When Victims Become Killers: Colonialism, Nativism, and the Genocide in Rwanda. Princeton: Princeton UP, 2001.
    • Meister, Robert. “Forgiving and Forgetting: Lincoln and the Politics of National Recovery.” Human Rights in Political Transitions. Eds. C. Hesse and R. C. Post. New York: Zone, 1999. 135-76.
    • —. “Human Rights and the Politics of Victimhood.” Ethics and International Affairs 16:2 (2002): 91-108.
    • —. “The Liberalism of Fear and the Counterrevolutionary Project.” Ethics and International Affairs 16:2 (2002): 118-123.
    • —. “The Logic and Legacy of Dred Scott: Marshall, Taney, and the Sublimation of Republican Thought.” Studies in American Political Development 3 (1989): 199-260.
    • —. “Sojourners and Survivors: Two Logics of Non-Discrimination.” The University of Chicago Law School Roundtable 3.1 (1996): 121-184.
    • Neiman, Susan. Evil: An Alternative History of Philosophy. Princeton: Princeton UP, 2002.
    • Nino, Carlos. Radical Evil on Trial. New Haven: Yale UP, 1996.
    • Novick, Peter. The Holocaust in American Life. Boston: Houghton Mifflin, 1999.
    • Power, Samantha. “Bystanders to Genocide.” The Atlantic Monthly (September 2001). 84-109.
    • —. “Never Again: The World’s Most Unfulfilled Promise.” PBS Frontline 1998.
    • —. “A Problem From Hell”: America and the Age of Genocide. New York: Basic, 2002.
    • —. “Roméo Dallaire: A Hero of Our Time.” New York Review of Books 51.18 (18 Nov. 2004). 8-11.
    • Putnam, Hilary. “Lévinas and Judaism.” The Cambridge Companion to Lévinas. Eds. Simon Critchley and Robert Bernasconi. Cambridge: Cambridge UP, 2002. 33-62.
    • Rancière, Jacques. “Who Is the Subject of the Rights of Man?” South Atlantic Quarterly 103:2/3 (Spring/Summer 2004): 297-310.
    • Rieff, David. A Bed for the Night: Humanitarianism in Crisis. New York: Simon, 2002.
    • Rorty, Richard. “Human Rights, Rationality, and Sentimentality.” On Human Rights: The Oxford Amnesty Lectures 1993. Ed. Stephen Shute and Susan Hurley. New York: Basic, 1993. 111-134.
    • Rose, Jacqueline. “Deadly Embrace.” London Review of Books 26.21 (November 2004). <http://www.lrb.co.uk/v26/n21/rose01_.html>.
    • Rummel, R.J. Death by Government. New Brunswick: Transaction, 2000.
    • Sa’adeh, Anne. Germany’s Second Chance: Trust, Justice, and Democratization. Cambridge: Harvard UP, 1998.
    • Santner, Eric. On the Psychotheology of Everyday Life: Reflections on Freud and Rosensweig. Chicago: U of Chicago P, 2001.
    • Sartre, Jean-Paul. “Preface.” Fanon, The Wretched of the Earth 7-31.
    • Schmitt, Carl. The Concept of the Political. Trans. George Schwab. Chicago: U of Chicago P, 1996.
    • —. Political Theology. Trans. George Schwab. Cambridge: MIT P, 1988.
    • Scott, David. Conscripts of Modernity: The Tragedy of Colonial Enlightenment. Durham: Duke UP, 2004.
    • Seed, Patricia. Ceremonies of Possession in Europe’s Conquest of the New World, 1492-1640. New York: Cambridge UP, 1995.
    • Segal, Hanna. Introduction to the Work of Melanie Klein. New York: Basic, 1973.
    • Segev, Tom. The Seventh Million: The Israelis and the Holocaust. Trans. Haim Watzman. New York: Hill, 1993.
    • Sen, A.K. Collective Choice and Social Welfare. San Francisco: Freeman, 1970.
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    • Shklar, Judith N. Legalism: An Essay on Law, Morals, and Politics. Cambridge: Harvard UP, 1964.
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    • Solnit, Rebecca. A Book of Migrations: Some Passages in Ireland. London: Verso, 1997.
    • Sontag, Susan. Regarding the Pain of Others. New York: Farrar, Strauss, Giroux, 2003.
    • Stannard, David E. American Holocaust. New York: Oxford UP, 1992.
    • Taubes, Jacob. The Political Theology of Paul. Trans. Dana Hollander. Stanford: Stanford UP, 2004.
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    • Zizek, Slavoj. “Afterword: Lenin’s Choice.” Revolution at the Gates: Zizek on Lenin, the 1917 Writings. London: Verso, 2002. 167-336.
    • —. Welcome to the Desert of the Real. London: Verso, 2002.

     

  • Preface: Approaching Proximity

    Rei Terada

    Departments of English and Comparative Literature
    University of California, Irvine
    terada@uci.edu

     

    Ethics and Politics of Proximity reflects on the contemporary state of thought about proximate others, whether they be like or unlike oneself, neighbors, friends, rivals, or enemies. Coming from disparate disciplines (politics, literary studies, and architecture) and using heterogeneous principles, these essays by Robert Meister, Laura O’Connor, and Dana Cuff show that proximity is a testing ground for struggles between politics and ethics and for models of border cultures and shared space.1 Proximity, the afterlife of approach, also retains the trace of time in spatial relations; no consciousness of proximity exists without at least a hypothesis of how one came to be near, whether one arrived before or after the other. Various discourses of proximity, however, may stress or repress temporal questions. In his essay for this issue, Robert Meister calls the “ethics of the neighbor” “a spatializing discourse within ethics, as distinct from a ‘temporalizing’ discourse that subordinates ethics to political rhetorics associated with memory and identity.”2Microinvestigations in the ethological field of “proxemics”–the study of such things as how close to one another we like to stand and speak–also reflect the always changing power relations between parties without necessarily offering a historical account of how these came to be, as Dana Cuff points out in her study of suburban architecture. In the uneasy territory of proximity, interactions that are not explicitly political must still be recognized or repressed as ambiguously so because of their place in a sequence of other exchanges.

     

    Contemporary theory has been nervous about proximity. In the 1980s and early 1990s, critical theory and cultural studies often repeated that one should not identify too closely with the other. Too easy identification, by this logic, is said to fantasize harmony and mistranslate or appropriate the other’s communication.3 This seemingly self-critical suspicion of identification, however, may also flatter the self by attributing too much power to it. Arguably, it wishfully aggrandizes the self’s capacities in the mode of restraint. Shielding the autonomy of the other can turn into the comedy of cultural critics’ protecting their objects of study from a totalizing force that these same critics could never actually muster. In a redundant act of magical thinking, cultural theory was sometimes called on to safeguard differences even as those differences were posited as inevitable. Fifteen years later contemporary formulations of the ethics of proximity as opposed to its politics tend to take an even more radically self-subjugating form. Even as the stricture on identification remains largely in place, current schematizations of proximity often underestimate the difficulty of bearing with others, or masochistically embrace it. Contemporary ethics in the lineage of Lévinas figures the other as an overpowering given that makes assymetrical, ultimate demands; the subject endorses the pain of invasion as the very condition of subjectivity. Lévinas’s extreme version of responsibility at least has the merit of stressing the subject’s suffering. In Lacanian formulations, the suffering of self and other can be relegated to the realms of the imaginary. Eric Santner’s Psychotheology of Everyday Life mobilizes Franz Rosenzweig’s accounts of the banal heroism of life among one’s neighbors in order to suggest that each subject must bear the burden of the other’s unconscious. For Alain Badiou, the philosophy of Paul represents the possibility of overcoming the sectarian strife that Badiou attributes to over-attention to differences.4 Badiou and Slavoj Zizek give the Pauline equivalence of self and other a Lacanian twist, arguing that the relation of neighbor to self reflects the strangeness and externality of the self to itself. Nonetheless, Zizek insists, the “common void” in us and between us provides a basis for a reorganization of psycho-social life.5

     

    These forms of proximity–upon me, too close to me, in me more than me–suggest a persistent lack of vocabulary for untraumatic relation.6 Santner’s position in particular is worth examining at greater length, since Santner understands the necessity of working through resistance to proximity. He shows how in The Star of Redemption Rosenzweig comes to view the repeated friction of small acts of communal involvement as the texture of love, and eventually compares the attitude Rosenzweig recommends with the analyst’s toward the analysand:

     

    What Freud and Rosenzweig have done, then, is to elaborate the ethical relation introduced into the world by Judeo-Christian monotheism–love of God as love of neighbor–as the basis of a distinctly modern ethical conception: my ability to endure the proximity of the Other in their “moment of jouissance,” the demonic and undying singularity of their metaethical selfhood (in Freud’s view, it is perhaps only psychoanalysts who–at least ideally–embody this ethical attitude). To put it most simply, the Other to whom I am answerable has an unconscious, is the bearer of an irreducible and internal otherness, a locus of animation that belongs to no form of life. To cite Freud’s characterization of the Ratman, the face of the Other to whom I am answerable is one that in some form or another manifests a “horror at pleasure of his own of which he himself [is] unaware.” (82)

     

    The phrase in parenthesis is crucial, since for Freud analysis is possible only because it is not simply a part of everyday life, and everyday life in the mode of the analyst’s hypothetically infinite patience would be cruel. Further, enduring another’s sexual horror as the type of neighbor relation in the love of God is frighteningly close to internalizing parental seduction. Jean Laplanche asks whether one might compare the sexualized messages of parents to children to the demands of God: “That God is enigmatic, that He compels one to translate, seems obvious in the entire Judaeo-Christian tradition of exegesis. Whether this enigma presupposes that the message is opaque to Himself is plainly a different question. Does God have an unconscious?” (191). Santner adduces Laplanche in order to argue that “every symbolic investiture” of personhood–beginning with the primal scene as unconscious display–produces a “kernel of ‘indignity’” about which we incline to be defensive, but toward which Rosenzweigian love may be open (84-85). Here as in Lévinas, the difficulties of proximity are fully acknowledged only to advocate even greater proximity. The subject is to be “release[d]” from its “labors to translate superegoic pressure into a meaningful communication/legislation” by the logic that working to escape the pressure only mires the subject more deeply (104). Although Freud and Laplanche might agree that escape fantasies can perpetuate the wrong kind of excitement, they do not, like Lacan and Zizek, lose their sense of outrage at psychic invasion and the rightfulness of one’s desire to escape it. The project of analyzing and undoing interpellated messages may be interminable, but still, according to Laplanche, “the development of the human individual is to be understood as an attempt to master, to translate, these enigmatic, traumatizing messages. . . . Analysis is first and foremost a method of deconstruction (ana-lysis), with the aim of clearing the way for a new construction, which is the task of the analysand” (165). This series of associations–from banal contact to parental seduction by God–suggests that the memory of psychic intrusion may lie behind our objection to the frictive presence of proximate others. “Being able to bear the institutions and the people we depend upon is called masochism,” Adam Phillips suggests (49).

     

    It may be the case that relation is unsustainable, as Freud suspects in Civilization and Its Discontents, even as we survive it. If so, it is not clear what our attitude toward this state of affairs should be. I’d suggest simply that this question should be approached as much as possible without presuppositions and a priori moral obligations. We feel so guilty about having difficulty with fundamental sociality that we do not even know what we think before we impale ourselves on imagined inexorabilities that bear their own social and political consequences. Analysts are familiar with patients who rush to submit to imaginary laws just to end the discomfort of mixed feelings toward others and the pressures of choice. Ethics and politics could take a page from prosaic clinical literature and simply hold ambiguities in mind longer to see what they may be composed of.

     

    The particular combinations of attraction and repulsion in proximate relations and the histories of conflict that create them should bear in some way on one’s responsibility to someone else. Even the best proximate relations contain particular knots of love-hate. The difference between working through with Freud and “going through the fantasy” with Lacan may be remaining alive to the contingent forces that produce these knots and coming up with the empiricist empathy to undo them at length.7 Although I don’t speak for the authors of these essays, as their reader I admire their taking the time to dwell in the details of proximate entanglements–the logics of victims’ and victors’ justice (Meister), the poetic forms of intimate ethnic rivalry (O’Connor), the disparate imaginary neighbors projected by architectural conventions and innovations (Cuff). Their unblinking descriptions of historical dilemmas help us understand the political and power relations that have made the ethics of proximity difficult to bear.

     

    Notes

     

    1. The essays by Meister and Cuff, as well as this preface, are products of “The Ethics of the Neighbor,” a seminar sponsored by the University of California Humanities Research Institute. The authors would like to thank Kenneth Reinhard, convener of the seminar, and David Theo Goldberg, Director of the Institute, for the opportunity to do this research.

     

    2. See also Derrida’s comment on the figure of the neighbor in Rogues: Two Essays on Reason: “Perhaps in the discussion to follow I might be able to elaborate on a series of values most often associated with that of the brother: the values of the neighbor [prochain] (in the Christian sense), the fellow, the compeer or the like [semblable] (the enormous question of the like: I tried to argue in my seminar this year that pure ethics, if there is any, begins with the respectable dignity of the other as the absolute unlike, recognized and nonrecognizable, indeed as unrecognizable, beyond all knowledge, all cognition and all recognition: far from being the beginning of pure ethics, the neighbor as like or as resembling, as looking like, spells the end or the ruin of such an ethics, if there is any….)” (60).

     

    3. A deconstructive version of the argument against losing the other through overcloseness occurs in Derrida’s Memoires for Paul de Man. This is the form in which I’ve found the argument most convincing.

     

    4. Badiou’s Paul prescribes the redoubling of a local imperative into a universal one: “it is incumbent upon love to become law so that truth’s postevental universality can continuously inscribe itself in the world, rallying subjects to the path of life.” For Badiou, Paul’s ontology is empty because his Christianity is based on its most fabulous element, the Resurrection; Paul “knows that by holding fast to this point as real, one is unburdened of all the imaginary that surrounds it” (4-5). Badiou’s logic is a version of traditional metaphysics’ historical contempt for “merely empirical” experience figured as a burden.

     

    5. See, for example, his gloss on Badiou in The Ticklish Subject, which phrases the foundational nature of the void in even more general terms: “There is no Order of Being as a positive ontologically consistent Whole: the false semblance of such an Order relies on the self-obliteration of the Act. In other words, the gap of the Act is not introduced into the Order of Being afterwards: it is there all the time as the condition that actually sustains every Order of Being” (238).

     

    6. Perhaps untraumatic relation that respects the rights of the self is unpopular because it has too often been the domain of socially conservative theories of market force. Yet there is nothing necessary, and a great deal that is tense, about the connection of self-respect to capitalism.

     

    7. For a defense of Freudian mourning pitched against Lacan, see Ricciardi.

    Works Cited

     

    • Badiou, Alain. Saint Paul: The Foundation of Universalism. 1997. Trans. Ray Brassier. Stanford: Stanford UP, 2003.
    • Derrida, Jacques. Memoires for Paul de Man. Trans. Cecile Lindsay, Jonathan Culler, and Eduardo Cadava. New York: Columbia UP, 1986.
    • — . Rogues: Two Essays on Reason. Trans. Pascale-Anne Brault and Michael Naas. Stanford: Stanford UP, 2004.
    • Laplanche, Jean. “Interpretation between Determinism and Hermeneutics: A Restatement of the Problem.” Essays on Otherness. Trans. Philip Slotkin. London: Routledge, 1999. 138-165.
    • —. “Seduction, Persecution, Revelation.” Essays on Otherness. Trans. Philip Slotkin. London: Routledge, 1999. 166-96.
    • Phillips, Adam. The Beast in the Nursery: On Curiosity and Other Appetites. New York: Vintage, 1998.
    • Ricciardi, Alessia. The Ends of Mourning: Psychoanalysis, Literature, Film. Stanford: Stanford UP, 2003.
    • Santner, Eric. On The Psychotheology of Everyday Life: Reflections on Freud and Rosenzweig. Chicago: U of Chicago P, 2001.
    • Zizek, Slavoj. The Ticklish Subject: The Absent Centre of Ontology. London: Verso, 1999.

     

  • Unmade Men: The Sopranos After Whiteness

    Christopher Kocela

    Department of English
    Georgia State University
    engcpk@langate.gsu.edu

     

    Maurice Yacowar is right that The Sopranos “bears the critical analysis routinely accorded good literature, drama, and films” (19). Yet critical discussion of the program so far has not considered its interest in race. This is certainly not for lack of provocation. In almost every episode, Tony Soprano invents a new epithet for the racial “others” he encounters at work and at home. He curses out an African-American traffic cop as an “affirmative action cocksucker” (S3E5) and describes his daughter’s Black and Jewish boyfriend as a “Hasidic homeboy.”1 Nor is Tony’s “racist retrograde fucking asshole personality,” to quote his daughter Meadow (S3E4), an anomaly in the series. Tony’s description of the police officer, in particular, reiterates sentiments about affirmative action and racial equality that circulate in the Soprano household during Meadow’s process of applying to college, which plays out during the entire second season of the series. One of the more memorable moments in that season is the scene in which Carmella Soprano offers Joan Cusamano, Secretary of the Georgetown University Alumni Association, a ricotta pie with pineapples in return for a letter of recommendation for Meadow. Neither Joan’s refusal to be threatened nor the fact that she has already written a letter for a “wonderful young Dominican boy from the projects” (S2E8) holds any sway with Carmella Soprano, who goes so far as to suggest a viable lie about the boy in the interest of promoting her daughter.2 Although books and articles about the series have engaged claims, like those of Camille Paglia, that the show stereotypes Italian-Americans, there has been little effort to endow the construction of racial and ethnic difference in The Sopranos with the same degree of complexity accorded its treatment of gangster cinema, psychoanalysis, or gender.3Tony’s reactions to figures like the African-American police officer are far from simple. In light of his wealth and connections to highly placed civic officials, the irony of Tony’s claims about victimization and his use of affirmative action as a term to ground that victimization speak to the way in which he negotiates his status as both a privileged white subject and an ethnic victim. Scenes like this establish a subtext that runs throughout the series, engaging cultural anxieties about the representation of whiteness in a way that helps account for the show’s popularity.

     

    A common assumption in “whiteness studies” is that in Western culture, those designated or able to pass as white experience whiteness as an unacknowledged system of privileges whose operation is difficult to recognize since whiteness appears, to them, as an “empty” cultural category. Hence to analyze the emergence and functioning of whiteness is to engage in a form of anti-racist practice.4 Recently, however, interventions in this field have taken aim at the notion that whiteness has ever been invisible, even to whites. In turn, some proponents of whiteness studies have begun to doubt their initial assumption that heightening white racial consciousness might help end racism.

     

    Ruth Frankenburg and Mike Hill have been careful to register their own changing and conflicted relationship with the subject they helped popularize. In “The Mirage of Unmarked Whiteness” (2001), Frankenburg challenges the idea that she had advanced–that whiteness is invisible–by arguing that “the more one scrutinizes it . . . the more the notion of whiteness as an unmarked norm is revealed to be a mirage or indeed, to put it even more strongly, a white delusion” (73). According to Frankenburg, despite the prevailing opinion of most theorists of whiteness, white racial consciousness has actually been on the rise for some time in the United States owing to affirmative action and the challenges put to it in the late 1980s and the 1990s. Moreover, this new racial awareness denies a facile correlation between racial self-consciousness and anti-racist sentiment among white subjects. Analyzing interviews with whites from across the United States, Frankenburg finds that most interviewees, regardless of class or location, tend to see whiteness not as a system of privilege but of victimization. Her conclusion is that many whites now exhibit a more complex and contradictory understanding of whiteness than even its theorists tend to admit:

     

    On one level white people were more conscious of themselves as white and more conscious of themselves as living and acting in a racialized world. But in these interviews, race consciousness did not correlate with antiracism. Rather, what I witnessed as I listened to these accounts was neither race cognizance nor color- and power-evasiveness, but rather a hybrid of the two, that which one might name "power-evasive race cognizance." . . . It is now possible to make two claims simultaneously. One is that African Americans and Latinos do not need the "handouts" of affirmative action because they are perfectly capable of achieving without help. The second is that when African Americans and Latinos do succeed alongside whites, this is not because of their own efforts and talents, but rather because of unfair assistance. (91)

     

    Frankenburg’s observations lend weight to Hill’s recent analysis of the romanticized “white minority” that has come to obsess both the popular and academic imagination. Hill introduces his After Whiteness: Unmaking an American Majority, with an account of a trip to a 2002 conference of the American Renaissance–a group devoted to preserving the white race on the verge of its supposed collapse into minority status. Hill makes discomfiting comparisons between the “memory of whiteness” sought by this overtly racist group and the first popular surge of whiteness studies in the late 1990s, in which “particularizing whiteness as a normative historical fiction, combined with an under-interrogated desire to see that race on the margins, carried good professional and even political currency” (3). According to Hill, the study of whiteness will never be able to surmount the politically disturbing contradictions in which it is rooted and which, in its more naïve forms, it pins exclusively on mass culture (8). For that reason, the most responsible form of whiteness studies in Hill’s view is that which examines “how the white majority’s imagined move into the past is coordinated with its thoroughly agitated status in the present” (8). This amounts to a study of “after-whiteness,” which focuses not on the invisibility or unrepresentability of whiteness as such, but on the “various forms of misrecognition that now accompany the act of racial self-regard” (12).

     

    In this essay I argue that The Sopranos interrogates the problem of white racial consciousness in keeping with the “after whiteness” theses developed by Frankenburg and Hill. Frankenburg’s notion of power-evasive race cognizance helps name and diagnose Tony and Carmella’s reactions to the African-American traffic cop and to Joan Cusamano. Their reactions recur in various forms throughout the series and help ground its portrayal of whiteness as an American fantasy whose psychological hold over the imagination depends on what Hill calls its “absent presence.”5 Through its complex treatment of Italian-American identity, The Sopranos simultaneously mourns and celebrates the advent of a lost white majority in the United States. In this it supports the claims of Valerie Babb and Matthew Frye Jacobson that television plays a foundational role in establishing whiteness as an American norm (Babb 44), but with an important qualification. Where an earlier program like Dragnet served to authorize the mainstream equation of “Caucasian” and “white” (Jacobson 97), in The Sopranos whiteness is a tool that profits a criminal if not entirely oppositional take on the American Way. The vehicle for this presentation is the show’s central protagonist, Tony Soprano, a character who is both deeply invested in, and in deep denial about, his status as a white male subject. Tony’s recurring panic attacks represent the racial anxiety which, in Kalpana Seshadri-Crooks’s Lacanian analysis, arises as the byproduct of the desire for whiteness in contemporary American culture. The promise held out by the show in the form of Tony’s on-again off-again therapy is that this anxiety can somehow be “cured”–a promise whose gradual tarnishing over the first five seasons of the series reflects the fading faith of those who have grown dubious about the political and theoretical goals of whiteness studies.

     

    Talking to the Wrong White Man

     

    In an interview for the DVD box set of The Sopranos Season One, director and creator David Chase attributes the uniqueness and appeal of the series to the fact that it tackles the domestic issues and psychological problems attached to being a crime boss. While the germ of the series, according to Chase, was the image of a mob boss undergoing psychoanalysis (a concept picked up the same year, apparently coincidentally, by the film Analyze This), the form of the show stemmed from Chase’s notion that the domestic life of the gangster was the only territory left for exploration at this point in the history of the genre. Whether or not Chase is correct about the show’s appeal, it is certainly the case that promotion of The Sopranos has consistently foregrounded Tony’s divided loyalties to family and business, from the series’ tag-line, “If one family doesn’t get him, the other will,” to the title of S5E1, “The Two Tonys.”6 Meanwhile, through numerous twists and turns in the series’ narrative (and the killing of major characters at regular intervals), Tony’s psychotherapy has remained the primary vehicle through which his divided loyalties come to light. In S1E7, Tony’s analyst, Jennifer Melfi, reads Tony’s frequent and debilitating panic attacks as evidence that he is afraid of losing his family. Despite sometimes violent reactions from her patient, Jennifer repeatedly identifies Tony’s desire to protect his family as the overriding, and paradoxical, motivation for his dangerous business practices.

     

    By foregrounding Tony’s divided self and loyalties, The Sopranos calls attention to what Pellegrino D’Acierno calls the “double bind” of Italian-American identity. According to D’Acierno, Italian-American subjectivity is conventionally portrayed as split between a weak, “good” family and a strong, “bad” family, each defined through its relationship to the American Dream. The good family betrays itself and is left powerless by its assimilation to American culture and ideals, while the bad family prospers by interpreting the American Dream through organized crime. That these two families cannot be represented without each other is key to the dominant mythic narration of American culture. Accordingly, the most powerful examples of Italian-American cinema revise this mythic narrative, often by challenging the conventions of the gangster film as a cultural blueprint for Italian-American ethnicity. In D’Acierno’s view, Francis Coppola’s The Godfather trilogy disturbs the majoritarian framework through which Italian-American identity is constructed, creating hero-figures distanced from the audience by their obvious ethnicity. Even more powerfully, Martin Scorsese’s work occupies what D’Acierno calls “the strict position of the ethnic cinema: the cinema of ‘divided consciousness’ in which the ‘cursed part’–the secret wound of ethnicity–is displayed” (567). In films like Mean Streets, GoodFellas, and Casino, this wound of ethnicity is expressed through the destruction of the patriarchal order that grounds the mythic place of the strong Italian family. Where Coppola remains committed to a “cinema of fathers,” Scorsese’s films construct a “cinema of sons” in which the family is dissolved by the brutalities of ghetto life. Here authentic father figures come to be replaced by local mob bosses or weak godfathers who cannot provide the centering influence of a Don Corleone. By challenging the mythic narration that defines Italian-American identity, Scorsese’s films create an ethnic cinema which forces its audience to enter directly into the ruined lifeworld and language of its lost children.

     

    The indebtedness of The Sopranos to the work of Coppola and especially of Scorsese has received ample critical attention. Much scholarly celebration of the show as an icon of postmodernism hinges on its nostalgic engagement with previous gangster films.7 But beyond the unprecedented attention paid by the series to the domestic side of Mafia life (a focus well-suited to its televisual medium), much of the uniqueness of The Sopranos resides in the way it interrogates the mythic two-family structure of Italian-American identity. If previous installments of the gangster genre sought to foreground the wound of Italian-American ethnicity, The Sopranos foregrounds and interrogates the (fantasmatic) wound of white racial identification that is the result of the Soprano family’s near-total assimilation into mainstream American culture. This “wound” is revealed in various forms of power-evasive race cognizance, such as Tony’s reaction to his speeding ticket, that are predicated on a perceived or threatened loss of a white majoritarian order. Unlike the very real demise of the Italian patriarchal order in Scorsese’s films, the passing of the white patriarchal order in The Sopranos is consistently portrayed as a fantasmatic loss–yet one with real effects for those who might mourn or celebrate it. The result, I suggest, is that The Sopranos sheds light on the political and economic stakes of perpetuating cultural fantasies of a lost white majority in contemporary U.S. culture.

     

    For Mike Hill, the need to analyze fantasies of a post-white world derives from the fact that such fantasies have captured progressive and reactionary poles of the American cultural imaginary. Backed by statistical trends which appear to forecast a coming “white minority,” numerous groups–including academic multiculturalists, the Promise Keepers (a Christian men’s group), and the neofascist National Alliance–describe a post-white America in which the earlier black/white dichotomy of U.S. race relations gives way to a new multiethnic or post-ethnic reality. In these formulations, the civil rights movement of the 1950s and 60s is an important statistical and political benchmark, since the drive to promote models of racial and ethnic multiplicity is often made in the name of civil rights reforms and the decline (based on official reports like the U.S. census) in white identification since that time (39). Yet for Hill the promotion of a post-binaristic, post-white national imaginary is problematic given the statistical persistence of a clear non-white/white divide where income is concerned.8 Hill asks: “What happens to civil rights-inspired forms of racial identity in the post-binaristic future intimated here? The question is crucial, since the distribution of wealth is still stubbornly sutured to a recognizably race-divided social order” (35). Hill’s answer, which is also the central argument of his book, is that the new form of identity politics encouraged by proponents of post-whiteness violates the civil rights legacy (and the ideals of the liberal state) on which it appears to rely. The “post-white analytic” developed by Hill thus seeks to place under suspicion “the idea of racial self-recognition and to link the various forms of misrecognition that accompany that act to the terminal permutations of a waning liberal state” (9; 25).9

     

    The Sopranos depicts a world in which Hill’s worst suspicions about the cultural fantasy of lost whiteness are borne out. In particular, the series frequently demonstrates how visions of a lost white majority are deliberately deployed in order to mask and perpetuate black/white economic boundaries. Several of the series’ subplots focus on the way whites manipulate nostalgia for a black and white model of U.S. race relations. Here references abound to the civil rights movement and its immediate legacy, the urban race riots of the late 1960s. In S4E7, Tony, Ralph Siforetto (one of Tony’s captains), and Assemblyman Zellman (a highly placed friend) meet in a sauna to discuss an urban housing development scam with one of Zellman’s African-American compatriots, Maurice. The business under negotiation involves the misuse of government funds designed to assist low-income, inner city families, a plan that leads to group recollections of an “earlier” period in U.S. race relations:

     

    Zellman: "Summer of '67, we were both home on break. I'm interning at the state legislature and he [to Maurice]--what were you doing?"Maurice: “Uh…East Nook Food Co-op.”

     

    Zellman: “Right. But come July–”

     

    Tony: “The Newark riots.”

     

    Ralph: “What a fuckin’ summer that was!”

     

    Zellman: “Later that year Maurice and I helped organize one of the first black voting drives.”

     

    Tony: “Maurice, uh, were you around for Anthony Imperiale? The ‘White Knight’?”

     

    Maurice: “Around? Who you think he was fightin’ against? ”

     

    Zellman: “‘Italian pride! Keep Newark white!’”

     

    Maurice: "Aspiring Klansmen, some of those boys." (S4E7)

     

    Invoking earlier, monolithic visions of whiteness in the form of Anthony Imperiale and the Ku Klux Klan, Tony and Zellman dissociate themselves from that past, calling attention to the “new” racial dynamics of a post-white world in which they and Maurice can discuss business in, of all places, a sauna. That neither Tony nor Zellman actually believes in the breakdown of a black/white racial binary is made evident later in the episode, however, when Tony instructs Zellman to hire blacks from one of Maurice’s “youth gang outreach programs” to clear out the crack houses they intend to buy. When Zellman asks Tony, “Why didn’t your guys roust ’em?” Tony responds ironically: “Oh, nice! Bunch of white guys settin’ off caps in the ghetto. That won’t attract any attention at all!” Tony’s response betrays his awareness of, and identification with, a majoritarian model of whiteness whose passing he had appeared to celebrate with Maurice. His desire not to call attention to the black/white racial binary also reveals the importance of remaining silent about the racial dynamics reinforced by his business practices–dynamics that become clear when Zellman is confronted outside one of his new properties by an African-American girl hoping for a “nice house.” In this episode, the absent presence of whiteness is expressed when privileged blacks and whites share profits at the expense of African-American children.10

     

    The subplot of S2E2 focuses similarly on Tony’s resolution of a labor dispute between an Italian-American construction company and a group of disgruntled black joint-fitters. Early in the episode, a black preacher exhorts an angry mob of African-American workers to shut down one of Masserone Brothers’ construction sites. Amplified by a megaphone, the reverend’s voice plainly evokes that of Martin Luther King, Jr. and his message locates the outrage of his listeners in the broader context of labor discrimination against blacks:

     

    The black man industrialized the North, but we're still fighting for jobs. Over twenty-five joint-fitters on this site, not a black man to be found! I'll tell you why. Black joint-fitters, like all black artisans, have been shut out of the unions, out of work while the white joint-fitter is filling his stomach! (S2E2)

     

    Despite the reverend’s impassioned rhetoric, however, we soon learn that he is in cahoots with Tony, who has been commissioned by the construction company to break up the demonstration. A later scene depicts a brutal attack on the black workers by a horde of Tony’s men, who surprise their victims while the reverend engages and distracts them. In this episode, civil rights rhetoric is employed specifically to facilitate white-on-black violence. When Tony and the reverend meet at the end of the episode to divide up their profits, we witness once again a “post-white” world in which privileged black and white men share the profits of a business whose victims are exclusively African-American.11

     

    Tony’s ability to affirm or deny his whiteness, as the situation dictates, indicates the originality of The Sopranos‘ treatment of the gangster genre and its two-family myth of Italian-American identity. Where the difference between “good” and “bad” Italian families is traditionally established as a contrast between assimilation and poverty on the one hand and ethnic difference and criminal financial success on the other, Tony’s business endeavours challenge the distinction between good and bad families by demonstrating the instrumentality of Tony’s assimilated status–his whiteness–to his criminal activities. The fact that Tony profits by deflecting attention away from his whiteness implies a fundamental continuity between the white majority and the Mafia itself, in which membership is defined by silence or omerta. In this The Sopranos seconds the analytical work of early whiteness studies by revealing that white privilege is maintained through its invisibility, enforced through silence. At the same time, by breaking down a fundamental difference between good and bad families, the series also casts new light on the conventional “ethnic wound” of Italian-American identity. That wound derives from the complex and largely disavowed historical relationship between Italian-American ethnicity and whiteness itself. As numerous theorists have observed, Italian-American ethnicity serves as a privileged site for the investigation of whiteness in the United States. Italians, more than most other European immigrants, became classified as white only gradually, after enduring much racial discrimination.12 In D’Acierno’s view, the long-established status of Italian-Americans as “atavistic Whites” explains why they continue to be constructed in popular film and television as “the Other who is not an Other,” a group “overdetermined with respect to both the majority and the other minorities” (618-19). But in The Sopranos, Tony’s ability to deploy images of a lost white majority for his own benefit demonstrates that his “wound” of ethnic difference also serves as a weapon against those more clearly marked by racial difference in contemporary American culture. The shift of focus away from the gangster’s Italian-American ethnicity to his white racial identification is particularly significant in light of the fact that, as Hill points out, it is the rise of ethnicity as a paradigm for identity that is most often singled out as proof of the end of the white majority.13 Through its treatment of Italian-American identity, The Sopranos suggests that the so-called post-white ethnicity, far from problematizing black/white racial boundaries, actually works to perpetuate them.

     

    That the celebration of ethnic difference can serve as a smokescreen for the maintenance of whiteness is a central thesis of Jacobson’s Whiteness of a Different Color: European Immigrants and the Alchemy of Race. Jacobson describes the process of “becoming-Caucasian” as the main paradigm governing the experience of immigration and assimilation for European peoples in the twentieth-century United States.14 According to Jacobson, the scientific category of a “Caucasian race” emerges in the 1920s as a means of dissolving the racial distinctions among whites that had prevailed in the American cultural imaginary up to that time. An earlier era of anxiety over mass immigration had resulted in racial differentiation between Anglo-Saxons, Celts, Hebrews, Mediterraneans, and Slavs, among others; increased contact of Northern and Western American whites with a migrating African-American population after the turn of the century changed the racial dynamic of the country in a way that helped consolidate whiteness as a cultural and racial grouping. The gradual reconsolidation of whiteness received a significant boost during the civil rights movement of the 1950s and 1960s, which further polarized the organization of racial difference in the United States. As a result, the earlier racial distinctions among white groups tended not only to dissolve, but to be forgotten altogether with the advent of “ethnic” difference. As Jacobson writes,

     

    ethnicity provided a paradigm for assimilation which erased race as a category of historical experience for European and some Near Eastern immigrants. Not only did these groups now belong to a unified Caucasian race, but race was deemed so irrelevant to who they were that it became something possessed only by "other" peoples. (110)

     

    The white “ethnic revival” which emerges following the civil rights movement is, for Jacobson, the clearest symptom of the naturalization of whiteness as an unmarked racial category, whose invisibility and universality depends on historical amnesia about the process of becoming-Caucasian.15

     

    The Sopranos treats white racial misrecognition most explicitly in S1E10, “A Hit is a Hit.” In this episode, Tony finds himself drawn to the country-club culture of his assimilated Italian-American neighbor, Dr. Cusamano, while also helping his Jewish business partner, Heche, fend off the potentially hostile advances of Massive Genius, an African-American hip-hop tycoon who charges that Heche’s record label in the 1950s took unfair advantage of African-American songwriters. Caught between the pull of the white suburban “mayonnaisers” on one side, and the demands of the black gangsta rapper on the other, Tony is forced to reflect on both family halves of his Italian-American identity. He is simultaneously the “last white ethnic” in the eyes of Cusamano and friends, eager to hear the ritual mysteries of the Mafia, and–from the perspective of Massive Genius–the “first White man, the one who defends turf and still has not lost his body to embourgeoisement” (D’Acierno 619). The episode culminates in two structurally similar scenes, both built around the interrogation of whiteness as a marker of racial and ethnic difference. The first is the sit-down between Massive Genius, Heche, Tony, and their respective crews, in which Massive presents his demand for $400,000 in royalties from F Note Records. Citing a study about the exploitation of African-Americans in the film industry, Massive justifies his claims by arguing that “injustices to blacks in the music business are far worse than even in Hollywood.” But Heche has very different ideas about his place, given his Jewish heritage, in the history of black exploitation. Backed by Tony, Heche tells Massive Genius: “You’re talking to the wrong white man, my friend. My people were the white man’s nigger when yours were still painting their faces and chasing zebras.” Heche’s response lays bare Tony’s habitual and strategic racial misrecognition. Heche in effect affirms and denies his status as a “white man” while obviating the issue of his personal guilt. Indeed, he does not deny his exploitation of the black songwriters (a fact he has already conceded to Tony four episodes earlier). Instead, Heche invokes the history of Jewish persecution as a shield against responsibility for any claims made against the white majority, a strategy that makes him the “wrong white man” in relation to Massive Genius’s claims for racial justice.

     

    Heche’s racial misrecognition is mirrored in a parallel scene later in the episode. This time the sit-down is between Tony and Jennifer, and the point of contention is Tony’s resistance to the comfortable lifestyle of his Italian-American neighbors, the Cusamanos:

     

    Tony: "My wife thinks I need to meet new people."Jennifer: “So?”

     

    Tony: “Come on, you’re Italian, you understand. Guys like me were brought up to think that medigana are fucking bowlers. The truth is the average white man is no more boring than the millionth conversation over who should’ve won, Marciano or Ali.”

     

    Jennifer: “So am I to understand that you don’t consider yourself white?”

     

    Tony: “I don’t mean white like Caucasian. I mean a white man, like our friend Cusamano. How he’s Italian but he’s a medigon. He’s what my old man would’ve called a Wonder Bread wop. You know, he eats his Sunday gravy out of a jar.”

     

    Tony’s distinction between “Caucasian” and “white man” speaks directly to Jacobson’s thesis regarding the history of becoming-Caucasian in the United States. The fact that Tony mentions and then refuses to consider his status as Caucasian (“I don’t mean white like Caucasian”) replays the cultural forgetting of becoming-Caucasian that makes whiteness appear a natural racial category. Moreover, Tony’s invocation of the medigon reinforces Jacobson’s notion that the discourse of ethnicity diverts attention from the historical process of becoming-Caucasian. The appeal to ethnic rather than racial difference helps maintain silence about just who it is who benefits from post-white cultural fantasies. In The Sopranos, however, the economic victors are always clear: Massive Genius and his black songwriters never get their money. Scorsese creates an ethnic cinema in which the breakdown of the Italian patriarchal order signals the doom of its lost sons; The Sopranos, in contrast, predicates the success of the “wrong white men” on manipulated fantasies of whiteness. We do not learn from The Sopranos the language of ethnic sons deprived of their Italian godfathers, but the language of racial misrecognition spoken by sons whose lost white fathers were never really their own.

     

    Whatever Happened to Gary Cooper?

     

    By subtly interrogating the relationship between Italian-American ethnicity and white racial consciousness, The Sopranos agrees with the aims of recent academic studies such as Joseph P. Cosco’s Imagining Italians and Guglielmo and Salerno’s Are Italians White?, which build on the work of Roediger and Jacobson. These texts revisit the historical construction of Italian-American identity through the lens of whiteness, examining the details of becoming-Caucasian for Italians and the reasons for the later denial and forgetting of that process. Jennifer Guglielmo’s introduction to Are Italians White? begins with this point: “Italians were not always white, and the loss of this memory is one of the tragedies of racism in America” (1). Thomas Guglielmo’s chapter in the same volume concludes that “Italian Americans’ whiteness . . . was their single most powerful asset in the ‘New World’; it gave them countless advantages over ‘nonwhites’ in housing, jobs, schools, politics, and virtually every other meaningful area of life. Without appreciating this fact, one has no hope of fully understanding Italian American history” (42-43). Cosco’s text concludes with a chapter entitled “The Fight for Whiteness,” which likewise addresses the need to attend to the history of Italian-Americans as white Americans. But while The Sopranos anticipates and lends weight to these cultural and historical studies, the series also speaks, through its emphasis on Tony’s psychotherapy, to the unconscious and symbolic structure of white racial identification. The psychoanalytic framework through which we learn so much about Tony encourages us to see his problems and anxieties as symptomatic not only of the complexities that attend Italian-American whiteness, but of whiteness in general.

     

    In this regard The Sopranos supports the Lacanian model of race developed by Kalpana Seshadri-Crooks. According to Seshadri-Crooks, race is a “structure of relations, a signifying chain that through a process of inclusions and exclusions constitutes a pattern for organizing human difference” (4). Within the structure of this signifying chain, raced subjects come to inhabit symbolic positions such as “black,” “Asian,” or “white” based on their relationship to a master signifier, Whiteness. In its function as master signifier, Whiteness holds out the (always unfulfilled) promise of wholeness to the split subject of racial difference. The symbolic logic of race is, on this reading, akin to (and based on) that of sexual difference in the Lacanian framework. But there is a crucial difference between racial and sexual difference, according to Seshadri-Crooks. Although racial difference depends upon sexual difference for its effects (20), race is not a fantasy fundamental to the subject. Whiteness, unlike the “missing signifier” of sexual difference, is purely historical and cultural (21), designating no absence or lack in the Real. Moreover, Whiteness as a master signifier is readily visible; indeed, our subjective investment in racial difference stems from its visibility, and from the fact that this visibility appears to bespeak biological essence (21). It is because of its visibility that race, much more so than class or ethnicity, withstands deconstructive and historicizing attempts to dismantle it. At the same time, it is also the visibility of race that can lead to racial anxiety when the subject unconsciously recognizes the false nature of the promises held out by Whiteness. Seshadri-Crooks describes racial anxiety as the foreclosure of desire in Lacanian terms:

     

    Anxiety is an effect, according to Lacan, that appears when there is no possibility of desire, when there is a "lack of a lack." . . . The objet a that race produces is a lethal object, its own disavowed historicity, produced out of the lack of a lack--a phobic object that tries to make the barred Other, the desire of the symbolic, exist. This phobic objet a I suggest is localized as the pre-discursive mark on the surface of the body. The effect of "nature" that race produces emerges from its anxiety, its disavowal of its own historicity. This is the peculiarity of race which is neither in the Real, like sex, nor wholly discursive, like class or ethnicity. (45-46)

     

    Faced with the realization that Whiteness offers no possibility for desire, the raced subject experiences anxiety as the recognition of the false nature of a fantasy in which he or she nonetheless continues to believe.

     

    Though Seshadri-Crooks takes pains to distinguish her Lacanian analysis from the historicizing efforts of whiteness studies, her theory helps explain the “thoroughly agitated status” (Hill 8) of white racial identification in an age where whiteness itself is constructed as a lost object of desire. Like Hill, Seshadri-Crooks is critical of the liberal consensus that encourages celebration of racial and ethnic difference; but where Hill casts suspicion on the forms of misrecognition that structure racial self-awareness, Seshadri-Crooks criticizes the celebrators of difference for contributing to the illusion that race can ever be a “neutral description of human difference” (8). She attacks, in particular, the notion that promoting and recognizing difference can counteract racism. According to Seshadri-Crooks, the current vogue for difference depends on the implicit distinction between a neutral “ontology” of race and a discriminatory epistemology or logic of racism. To maintain this distinction is to participate in the social reification of race as a fundamental, and inevitable, precondition for attaining subjectivity:

     

    Modern civil society engages in such reification because ultimately its desire is to keep the dialectic between races alive. It must thus prohibit what it terms "racism" in order to prevent the annihilation not so much of the "inferior" races but of the system of race itself. (9)

     

    In this light, contemporary fantasies about the end of whiteness are particularly symptomatic of the desire for Whiteness that is exhibited, according to Seshadri-Crooks, in racist and anti-racist discourses alike. Hill, analyzing the relationship between post-white cultural fantasies and contemporary fears about the demise of the traditional family, finds that the same desire to recognize and repair white masculine identity drives the efforts of groups (like the Promise Keepers and the neofascist National Alliance, respectively) that publicly embrace and revile America’s new multiracial reality (80). Hill devotes considerable attention to the Promise Keepers and their rallying cry for a multiracial awareness that will fill what one prominent author of the movement calls the “father-shaped void inside a man” (98).16 According to Hill, the group promulgates its post-white sensibility as an antidote for the failure to live up to traditional masculine ideals:

     

    For PK, racialized self-consciousness prefigures the recovery of an anguished father whose shortcomings are experienced as the absence of his own dad. . . . PK atones for the failures of masculinity not (or not primarily) by getting the patriarchal contract right, but by dumping whiteness in the name of a recuperated sense of manhood in a vacuous multicultural zone. The "wound of masculinity" is perceptible by a self-conscious turn to whiteness as something, rather like the father, that was never really there. (98-99)

     

    Although Hill explicitly denies the applicability of Seshadri-Crooks’s work to the forms of post-white racial consciousness he examines, I propose that a psychoanalytic account of race as driven by the longing for a master signifier of Whiteness is precisely what is needed to account for the fact that, in a group like the Promise Keepers, “white masculine difference is achieved . . . when color is the father” (Hill 100). The Lacanian model developed by Seshadri-Crooks provides the tools for understanding race as a symbolic system which “derives its power not from socially constructed ideologies, but from the dynamic interplay between the family as a socially regulated institution, and biology as the site of essences and inheritances” (17-18). So long as they reify or fail to interrogate that relationship, visions of a multiracial world after whiteness will inevitably express the fantasies of subjects who are after Whiteness in the sense of desiring the wholeness promised them by the system of race.

     

    In The Sopranos Tony consistently longs for a lost master signifier of Whiteness. That white racial Name-of-the-Father is Gary Cooper, whose absent presence hovers over Tony’s therapeutic sessions with Jennifer from the pilot episode onward. It is Gary Cooper’s image as “the strong, silent type” that Tony invokes repeatedly in order to express his sense of failed American and masculine ideals–ideals most shamefully betrayed by Tony’s own disabling panic attacks and the confessional therapy required to cure them.17 For Tony, Gary Cooper is the ultimate model of self-sufficiency, a man who “did what he had to do” without help or guidance. Tony’s nostalgia for Cooper’s silence in particular establishes him as an image of wholeness and Being outside language, in keeping with the fantasy structure of Whiteness described by Seshadri-Crooks. The foreclosure of Tony’s desire for this lost white father helps explain Tony’s panic attacks as expressions of racial anxiety, in which he comes unconsciously to recognize the disavowed historicity of his own whiteness.

     

    The most instructive example of Tony’s racial anxiety is found in S3E2, when Tony comes face to face with Meadow’s half-Jewish, half-African-American boyfriend, Noah Tanenbaum. This is the only episode to date that begins with the after-effects of one of Tony’s panic attacks. As the scene fades up on the Soprano kitchen, the camera finds Tony unconscious on the floor, a plate of gabagool partially unwrapped beside him. When Carmella comes in and attempts to revive him, his first words, “Uncle Ben,” return us to an earlier meeting with his daughter’s boyfriend. That meeting focuses on Tony’s interrogation of Noah’s racial and ethnic heritage, conducted while Meadow is out of earshot. After learning Noah’s mixed racial identity, Tony asks:

     

    Tony: "But on your application to Columbia, you didn't check Jewish, did you?"Noah: “No, they can’t ask about religious affiliation.”

     

    Tony: “What’d you check?”

     

    Noah: “African-American.”

     

    Tony: “So we do understand each other here…”

     

    Noah: “What’s your problem?”

     

    Tony: “I think you know what my problem is. … See I’ve got business associates who are black, and they don’t want my son with their daughters and I don’t want their sons with mine.”

     

    Before Meadow returns, Tony tells Noah to stop seeing his daughter, provoking a defiant “Fuck you!” from the young man. After Noah and Meadow have gone, Tony goes to the kitchen for a snack, and it is while removing items from the fridge and cupboard that he spots a box of Uncle Ben’s converted rice and collapses. There is much in this opening scene that recalls “A Hit is a Hit” and its portrayal of white racial misrecognition. The Uncle Ben’s reference recalls Christopher Moltisanti’s first words, at the start of that episode, to a black member of Massive’s crew, while Noah’s Jewish and African-American identity redraws the lines of racial and ethnic difference set down in the confrontation between Heche and the hip-hop star.18 Yet where Tony and Heche, in that earlier episode, were able to deploy racial misrecognition to their own advantage, Tony’s decision to spotlight Noah’s status as racial other leads him to defend the black/white racial boundary he had elsewhere sought to obscure. Following Seshadri-Crooks, the impetus for this defence is Noah’s visibility as a representation of the post-white, multiracial world Tony exploits to conduct so much of his business. Invoking racial difference in order to police family boundaries, Tony discovers the foreclosure of his own desire for the master signifier, Whiteness, through the unconscious recognition that he has become the “lost” white father. This moment of becoming repeats what Seshadri-Crooks calls the “disavowed historicity” of one’s symbolic construction as a raced subject. In Jacobson’s terms, Tony experiences the full weight of his historical becoming-Caucasian as racial anxiety which manifests itself a few moments later, in the form of the panic attack he suffers on seeing the Uncle Ben’s box.19

     

    Yet if Tony’s panic attacks are amenable to psychoanalytic interpretation of this kind, Tony’s own psychoanalyst consistently fails to see the racial motivations for his anxiety. Two episodes later, Jennifer explains Tony’s collapse by focusing on the gabagool that he removes from the refrigerator just before the attack. Although Tony tells Jennifer about his “frank conversation with Buckwheat,” and although he identifies, when prompted, the last thing he saw before the attack (“I saw a box of Uncle Ben’s rice–boom!”), Jennifer establishes a connection between food, sex, and violence that derives from much earlier experiences in Tony’s childhood. According to Jennifer, sliced meat and sexual violence became psychically intertwined for Tony the moment he saw his father chop off the pinky-finger of the neighborhood butcher for failing to pay a debt.20

     

    This is by no means the only time when Jennifer ignores the racial context of Tony’s attacks. Jennifer’s reading of the gabagool reinforces, through its reductionism, the explanation for Tony’s attacks she proffers as early as S1E7. In this episode, the audience sees Tony’s discovery of his father’s business through a series of flashbacks. Jennifer is only interested in those points in the flashbacks that establish the relationship between Tony and his mother. Livia’s threat that she will stick a fork in Tony’s eye if he keeps pestering her about Christmas presents represents, for Jennifer, the symbolic origin of Tony’s castration-anxiety. This anxiety is heightened later when Tony overhears Livia threatening his father that she will smother their children if he tries to leave the Mafia. In Jennifer’s reading, the therapeutic breakthrough is the connection established by these memories between Tony’s fear of castration and his fear of losing his family: “When you first started therapy, you said that you had this dream–about those ducks. They flew away with your penis; it was a bad omen that something was going to happen in your family. Is this the terrible thing?” (S1E7). Equating “loss of the penis” with “loss of the family,” Jennifer reads Tony’s panic attacks as the result of exaggerated castration anxiety.

     

    Yet what any attentive viewing of Tony’s flashbacks cannot fail to register is the fact that every domestic scene is framed by racial conflict or by the threat of such conflict. Long before the childhood scene in which Livia threatens to stick a fork in Tony’s eye, her first threat–in fact the first words she speaks to Tony during the flashback–is a warning that if he fails to catch the bus he will have to walk to school through the “colored neighborhood” (S1E7). Later, the “castration” scene itself unfolds while the television in the living room shows the Newark race riots just then taking place. And later still, when Tony steals out from his hiding place in the trunk of his father’s car to investigate his activities at the amusement park, he is accosted and threatened by three African-American boys for throwing a candy wrapper on the sidewalk. He is only saved from being beaten by the sudden arrival of the police, who scare the boys away when they raid the amusement park in search of Tony’s father and his crew. As Tony watches his father and crew forcibly removed from the amusement park, one of the gang members asks sarcastically why the police aren’t arresting the “moulinyans,” since “they’re the ones burning down Newark.” If Jennifer’s penetration into Tony’s childhood reveals fear of castration and a Medea mother to have caused his panic attacks, the flashbacks into Tony’s past suggest that racial anxiety is equally influential.

     

    Given that Tony is going to therapy because of his panic attacks, it is particularly significant that Jennifer fails consistently to recognize their racial motivations.21 Her reductive interpretations throw into bold relief the complexity of the series’ treatment of racial misrecognition and post-white cultural fantasies. On one level, her failure calls attention to the way whiteness consistently flies under a sophisticated analytical radar. At the same time, The Sopranos does not, I think, simply condemn Jennifer’s Oedipal approach, nor does it lead one to support Hill’s view that a Lacanian model of race is incapable of addressing post-white cultural fantasies. Hill contends that the racial anxiety described by Seshadri-Crooks defies historical variation and therefore cannot account for an era in which “white men are willing to give way to others” (243n19).22 But Hill’s objection, which depends on his assumption that “Whiteness as a ‘master signifier’ needs nominally ‘white’ people to operate” (243n9), ignores (as his earlier analysis did not) what happens when white people “give way” to a post-white future. For while it may be true that Whiteness depends upon the continued visibility of white people, there is nothing in Seshadri-Crooks’s model to suggest that white visibility does not change over time. On the contrary, it would seem obvious that the master-signifier of Whiteness, which is “of purely cultural and historical origin” (Seshadri-Crooks 4), must itself evolve in order to account for the changing definitions of what it means to be “white,” “Caucasian,” “black,” etc., as detailed by Jacobson and others. Moreover, the relationship between the master signifier of Whiteness and the visibility of “nominally white people” must be complicated, particularly given the links Hill establishes between the cultivation of post-white sensibilities and the desires of disenfranchised white men (like the Promise Keepers) for a “masculine familial outcome” (100). Hill assumes that all white men understand “family” in the same way, but that is not the case, as the history of Italian-American identity and its mythic narration in popular culture and cinema show. In this framework, I suggest that the picture of Freudian analysis painted by The Sopranos is illuminating not because it shows how resistant “ethnic sons” like Tony are to psychotherapy, but because it foregrounds Jennifer’s misidentification of Tony’s symbolic father. Tony’s panic attacks, like the desire for Whiteness itself, will persist without a concerted effort to “trouble the relation of the subject to the master signifier” (Seshadri-Crooks 35). In the context of the series, that means trying to answer Tony’s most persistent question: “Whatever happened to Gary Cooper?”

     

    Jennifer never takes up this question. She comes closest when she presses Tony for an ethical accounting of his criminal activities in S2E9. Tony responds with a textbook recitation of the two family myth of Italian-American identity, in which the criminal activities of the bad family are justified by the need to resist assimilation:

     

    Tony: "When America opened the floodgates and let all us Italians in, what do you think they were doing it for? ... The Carnegies and the Rockefellers, they needed worker bees and there we were. But some of us didn't want to swarm around their hive and lose who we were. We wanted to stay Italian and preserve the things that meant something to us: honor, and family, and loyalty. ... Now we weren't educated like the Americans, but we had the balls to take what we wanted. And those other fucks, the J.P. Morgans, they were crooks and killers too, but that was the business, right? The American way." Jennifer: "That might all be true. But what do poor Italian immigrants have to do with you and what happens every morning when you step out of bed?"

     

    Chris Messenger criticizes Jennifer’s “majoritarian question” for inappropriately affirming a “universalized American doxa” (267). According to Messenger, “Melfi’s native response could be used to block African American grievances at their historical and racial root in a favor of a universal ‘Americanness’ or to counter views on affirmative action” (268). But Jennifer’s response could be used in this way only if valid distinctions between the history of African-American and Italian-American discrimination in the United States were ignored–distinctions that The Sopranos takes pains to foreground repeatedly.24 The import of Jennifer’s question is not that it severs Tony’s ties to his ethnic past, but that it challenges him to see the relationship he strategically denies between himself and those white fathers–the Carnegies, Rockefellers, and Morgans–with whom he shares more than a criminal interpretation of the “American way.” Implying a specifically racial continuity between Tony and these lost white fathers, Jennifer challenges Tony to discover that his economic success as a “made man” in American culture is inseparable from his status as a made white man. But Jennifer does not push for an answer here, and Tony is allowed to be silent about his white racial identification. The result is that Tony’s relationship to the master signifier of Whiteness goes unchallenged.

     

    The effects of this relationship are nowhere more evident than in “Christopher” (S4E3), an episode devoted to the ironies of America’s post-white fantasies of itself. In this episode Tony is repeatedly harried by his consigliere, Sylvio, to help discredit Native American protestors who want to stop the Newark Columbus Day parade on historical and racial grounds. Fed up with the righteous posturing of his crew members, Tony finally takes a stand on racial and ethnic difference in the name of Gary Cooper:

     

    Tony: "Gary Cooper, there was an American. The strong, silent type. He did what he had to do. ... And did he complain? Did he say, 'Oh, I come from this poor Texas Irish illiterate background or whatever the fuck, so leave me the fuck out of it, because my people got fucked over?' ...Sylvio: “Gary Cooper, the real Gary Cooper, or anybody named Cooper never suffered like the Italians. Medigon like him, they fucked everybody else–the Italians, the Polacks, the blacks.”

     

    Tony: "If he was a medigon around nowadays he'd be a member of some victims group--the fundamentalist Christians, the abused cowboys, the gays, whatever the fuck. ... Let me ask you something. All the good things you got in your life, did they come to you because you're Calabrese? I'll tell you the answer. The answer is no. ... You got it 'cause you're you, 'cause you're smart, cause you're whatever the fuck. Where the fuck is our self-esteem? That shit doesn't come from Columbus or The Godfather or Chef-fuckin'-Boy-Ardee."

     

    Shifting attention away from historical injustice and ethnicity to the comforts of Sylvio’s life, Tony’s response is indebted to Jennifer’s earlier question, “What do poor Italian immigrants have to do with you?” But Tony calls up the spectre of white racial identification only to pass over it immediately in his celebration of an unraced, universal subjectivity. It is this fantasy of wholeness which, according to Seshadri-Crooks, is the enduring special effect of Whiteness. It is also this illusion that structures Tony’s strategies of racial misrecognition and his disabling bouts of racial anxiety. The ease with which Tony believes in a coherent, continuous identity despite his recurring panic attacks and losses of consciousness shows how hard it is to shake loose of subjective investment in prominent cultural signifiers of whiteness. Indeed, by virtue of his ability to employ fantasies of lost whiteness for his own ends while remaining painfully subject to the overmastering fantasy of racial differentiation through familial narratives, Tony Soprano himself stands as one of the most culturally visible signifiers of white masculinity in the “post-white” era.

     

    To its credit, The Sopranos encourages analysis of whiteness while offering no simple resolution to the contradictions it entails. Jennifer pronounces Tony cured of his panic attacks late in Season Four; but in “Unidentified Black Males” (S5E9) the attacks have returned and Jennifer is as blind as ever to their racial motivation. In its refusal to make good on the promise of a solution to Tony’s problem, the series reflects the false nature of whiteness as a fantasy of wholeness. At the same time, The Sopranos testifies to the enduring desire for whiteness that characterizes contemporary multiracial America. In an age in which whiteness has come to signify, for many, either a void or absence or a disadvantage relative to other ethnic and racial groups, the popularity of the series and its chief protagonist suggests its own answer to the question, “Whatever happened to Gary Cooper?” The answer is that he is alive and well, though not quite as strong or silent as he used to be.

    Notes

     

    Thanks to Randy Malamud for his encouraging words about this piece when I was considering abandoning it. Thanks also to the anonymous reviewers of PMC for their helpful suggestions.

     

    1. Please note my shorthand method for referring to specific episodes in the series: S3E5 means Season Three, Episode Five.

     

    2. Meadow shares the general Soprano attitude toward affirmative action, despite the good fight she puts up against Tony over her boyfriend, Noah, in Season Three (a point to which I will return later). In “The Happy Wanderer” (S2E6), Meadow and a friend muse over the injustice of a fellow student’s early acceptance to Wesleyan University. When her friend attributes the acceptance to the girl’s racial heritage, Meadow complains, “Please, I’m blacker than her mother.” Her friend replies, “Yeah, well, you should’ve mentioned that on your application.”

     

    3. Paglia’s complaints about the series as a “buffoonish caricature” of Italian-Americans can be found in the online articles cited hereafter. For a much more detailed treatment of stereotyping in The Sopranos, see Orban.

     

    4. Whiteness studies is too broad and diverse a field to be adequately summarized here. My brief discussion is indebted to the editors of The Making and Unmaking of Whiteness, who introduce their volume by listing various tropes that have guided contemporary studies of whiteness. The first and most prevalent of these tropes is presented under the heading, “Whiteness is Invisible and Unmarked” (10). Another way of introducing whiteness studies is to call attention to its various politically and methodologically differentiated “schools.” Among these, the New Abolitionists claim the most radical anti-racist program, encouraging the study of whiteness so as to destroy it. Two self-identified members of this group, Vron Ware and Les Back, criticize the sometimes “banal” academic effort merely to describe whiteness without challenging it: “For us it is impossible to separate the act of writing about whiteness from a political project that involves not simply the fight against racism, but also an attack on the very notion of race and obstinate resilience of racial identities” (2). In her summary of the history of whiteness studies, Mason Stokes contrasts the New Abolitionist position (represented most powerfully by David Roediger’s Toward the Abolition of Whiteness) with the “progressive” school of thought developed by Kincheloe and Steinberg, which aims at the “reconceptualization of white identity” (24) rather than at its abolition. For Stokes, both schools are guilty of “naïve utopianism” (184), and would best be supplanted with a critical approach to whiteness that seeks to unsettle and disturb rather than to repair or destroy whiteness (191).

     

    5. To take the most immediate example, consider the subplot of “Another Toothpick” (S3E5), the episode in which Tony is ticketed by the black cop. After receiving the ticket, Tony is so incensed that he asks one of his highly placed friends, Assemblyman Zellman, to have the cop demoted. Zellman obliges; but when Tony later finds the officer working at a landscaping store, his guilt leads him to reverse his earlier request. Zellman puts the wheels in motion to restore the officer’s former position and calls Tony to report on his progress. In the meantime, however, Tony has learned that Meadow’s bicycle was stolen by a “black guy” from the neighborhood around Columbia University, and his attitude toward the cop changes again. He tells Zellman, “Fuck him. Cocksucker got what he deserved.” Even then Tony’s guilt is not quieted, however, and the end of the episode finds him back at the landscaping store, offering the man an exorbitant gratuity he does not accept. The final shot of the episode shows Tony standing alone with a handful of money in a crowd of white stone fountains.

     

    6. Joanne Lacey’s speculative study of The Sopranos‘ appeal to male audiences suggests that the domestic angle, while certainly part of the series’ draw, is by no means the chief reason for its popularity, at least outside the U.S. Though Lacey interviews only British men for her study, her findings indicate that it is the series’ “stylistic signifiers” of Americanness (suits, cars, mob speak, geographical locations) that lure men to the show (99). Similarly, Dawn Johnston’s analysis of the Canadian reaction to The Sopranos–aired uncensored in Canada on CTV, a mainstream television network–suggests that it is the lack of familiarity or “un-Canadian-ness” of the show that accounts for its “ferocious and tenacious” following there (41).

     

    7. The obsessiveness with which The Sopranos engages the cinematic past embodied in the work of Coppola and Scorsese, in particular, has been one of the most talked-about aspects of the series. For Auster, “The Sopranos underscores the continued validity and contemporary relevance of the gangster genre” (15). In David Pattie’s reading of the series as a “postmodern Mafia tale,” Scorsese’s work forms the repressed unconscious of Tony Soprano and his crew, who attempt to deny the lesson of Mean Streets and Casino that allegiance to the Mafia and its antiquated codes cannot give meaning to their lives (144). And Nochimson reads The Sopranos as “the unmasking of the heretofore thickly disguised emotional subtext of gangster stories” (3) that characterizes not only the work of Coppola and Scorsese, but much earlier films like Little Caesar (1930) and Public Enemy (1931). The self-reflexivity and postmodernism of the series has been explained through other, non-cinematic frameworks as well. Lance Strate reads Sopranoland’s spatial rearrangement of New Jersey landmarks as an example of the “postmodern scene” variously described by Jameson, Baudrillard, and McLuhan (193). Steven Hayward and Andrew Biro argue that the appeal of Tony Soprano, “our postmodern, farcical Godfather,” resides in his tireless engagement with the contradictions of late capitalism (212). And Rogers, Epstein, and Reeves rely on David Harvey’s discussion of postmodernity as a period of “flexible accumulation” to argue that HBO’s marketing of The Sopranos signifies a third era in the relationship between TV and the American economy, in which “the digital revolution in distribution is again transforming what it means to watch television” (43).

     

    8. Citing census statistics found in Valladao, Hill writes: “While it may be politically advantageous (and empirically accurate) to reject the racially binaristic thinking of the 1960s civil rights era, it is nevertheless the case that blacks remain the poorest racial minority in the United States per capita, with annual incomes 20 percent below that of Latinos, and 45 percent below that of whites” (34).

     

    9. It is important to distinguish this absent presence from the “invisibility” thesis regarding the earliest stages of work on whiteness. As Hill points out, the object is no longer to reveal the existence of whiteness once thought to be invisible, but rather now to interrogate the form of conscious–but contradictory–white racial identification that attends the current fascination with the “loss” of a white majority.

     

    10. Zellman later confesses to Maurice: “Sometimes I feel like I should be punished.” This wish comes true for Zellman at the end of the episode, when Tony beats him ruthlessly for dating his former girlfriend, Irina. Tony, on the other hand, evinces no regret about what he has done. Quite the contrary, he takes his son, Anthony Jr., on a tour of his new property holdings that brings them into confrontation with some African-American drug-dealers. Schooling his son in race relations, Tony playfully throws out racial and sexual slurs until he and Anthony are forced to leave at gunpoint. Anthony’s amused comment as they drive away (“So that’s a crack ho!”) shows what he has learned from the encounter.

     

    11. Other references to the Civil Rights movement establish its importance, for the Soprano family, as a “lost” signifier of a more orderly past. Late in Season One, Tony, disturbed by Meadow’s frank discussion of sex at the breakfast table, halts her dialogue by shouting: “Out there it’s the 1990s, but in here it’s 1954!” (S1E11). That Tony points to the year of Brown vs. Board of Education as a defense against having to face his daughter’s sexuality becomes particularly important in Season Three, when Meadow brings home her African-American boyfriend, Noah Tanenbaum. In a more recent episode, Tony’s sister Janice strategically employs nostalgia for the Civil Rights movement to win the good graces of an African-American woman in her anger management class. Janice succeeds only in revealing her current racial fears:

     

    I come from a biased family, but I was different. I put all my faith and my hopes into the Civil Rights movement. I left home and I marched. And for what? So they can ride around in their SUVs blasting that rap shit? And you can't say anything 'cause they might have guns? (S5E10)

     

    12. David Roediger examines this historical development in his foundational text, The Wages of Whiteness. See also Frankenburg, White Women 37-38), Bernardi (xxi-xxii), and Jacobson, Cosco, and Guglielmo and Salerno, whose contributions are discussed below.

     

    13. Hill’s analysis, based on Davis’s Magical Urbanism, focuses primarily on Hispanic ethnicity that “functions as a kind of interdivisional racial buffer between black and white” (32).

     

    14. Jacobson’s book is regarded as the most comprehensive account of the development of whiteness as a racial and epistemological category in the United States. In it, Jacobson describes the history of whiteness in America in terms of three “great epochs.” The first of these is inaugurated by the American naturalization law of 1790, which limited naturalized citizenship to “free white persons,” or those capable of “self-government.” The second begins some fifty years later, when the original, “over-inclusive” law was revised to stem the tide of less-than-desirable (yet still “white”) immigrants. This period is defined by its creation of a series of distinct and scientifically-determined white races with an attendant hierarchy that ranked Anglo-Saxon and Irish whiteness on opposite ends of the scale of social desirability. Finally, the third epoch, defined by the process of “becoming-Caucasian,” takes shape in the 1920s in response to new, more restrictive legislation governing immigration, and to the mass migration of African-Americans to the American North and West. This era is marked by the gradual dissolution and “forgetting” of the earlier hierarchy of white races. In place of that scientific model, the new concept of “ethnicity” emerges as the preferred method of distinguishing cultural differences among whites, while race becomes the province solely of black or “nonwhite” groups (7-14).

     

    15. The frequency with which The Sopranos refers to the civil rights era is doubly appropriate. For while visions of a post-white America look to the civil rights movement as the final flowering of the black/white racial binary, Jacobson identifies the same era as that in which the whiteness of groups like Italian-Americans, previously thought to inhabit a “middle ground in the racial order”, is most firmly established (62). According to Jacobson, “non-Anglo-Saxon immigrants and their children were perhaps the first beneficiaries of the modern civil rights movement, in that the movement helped confer upon them a newly consolidated status as Caucasians in a political setting where that meant–and continues to mean–a great deal” (272). Jacobson’s analysis has spawned several recent studies of the relationship between whiteness and Italian-American identity, most notably Cosco’s Imagining Italians and Guglielmo and Salerno’s edited volume, Are Italians White? Both texts support Jacobson’s thesis that the shaping of Italian-American ethnicity took place alongside, but also helped to mask, the acquisition of white power and privilege by Italian immigrants in the United States. Guglielmo locates the historical enfranchisement of Italian-American whiteness as early as the turn of the twentieth century, at which point, “for all of the racial prejudice and discrimination that Italians faced in these early years, they were still generally accepted as white and reaped the many rewards that came with this status” (36).

     

    16. This suggestive phrase, appropriated and developed by Hill, is originally found in Means 54.

     

    17. Santo offers the best discussion of Tony’s relationship to masculine ideals. Particularly interesting is Santo’s discussion of the way in which Tony’s body image, both powerful and overweight, contradicts American middle-class standards (78-80).

     

    18. In S1E10, Christopher and his girlfriend Adriana first meet Massive Genius while standing in line at a burger joint. When approached by one of Massive’s crew members, Christopher quips, “Why’d they send you over? I asked for a burger, not converted rice.”

     

    19. The point is underscored again later in the same episode, when Meadow helps Anthony Jr. with his essay on Robert Frost’s “Stopping By Woods on a Snowy Evening.” When Meadow tells Anthony that the snow of the poem “symbolizes cold, endless white, endless nothing, death,” AJ responds: “I thought black was death.” “White too,” says Meadow.

     

    20. Jennifer’s analytical strategy here is in keeping with the methods she uses frequently to keep her therapy sessions with Tony “focused.” One of her earliest prohibitions is that, for legal reasons, Tony must refrain from discussing the criminal details of his “Family” life–a rule that, as Gabbard points out, is in strict violation of the psychoanalytic rule of free association (6). The net effect, throughout the course of Tony’s treatment, is that Tony’s anxieties, and Jennifer’s explanation of them, repeatedly boil down any extraneous “social” material to the problems of Tony’s domestic life.

     

    21. Other flashbacks to Tony’s past also reveal the significance of racial difference–particularly the black/white boundary–to Tony’s sense of guilt. S3E10 is devoted to Tony’s guilt over the killing of Pussy Bompinsiero at the end of Season 2. In this episode Tony mulls over numerous points at which he suspected Pussy may have been wearing the FBI wire that necessitated his murder. The episode opens with a flashback to 1995, during which Tony and friends watch the end of the OJ Simpson trial. A recent episode, S5E9, focuses on the return of Tony’s panic attacks after a long period (a dozen or more episodes) during which he appeared to be cured of his anxiety. Significantly titled “Unidentified Black Males,” this episode is structured around the way in which Tony and several of his cronies use racist images of black men as scapegoats for their criminal successes and failures. When Tony confesses to Jennifer that he once lied about having been attacked by black men in order to conceal one of his panic attacks, Jennifer again overlooks the racial context and explains Tony’s attacks solely in terms of guilt over the imprisonment of his cousin (played by Steve Buscemi).

     

    22. Deleuzians may point out that Jennifer’s therapy exemplifies the way in which psychoanalysis always reduces social desiring-production to the domestic triangle of Daddy-Mommy-Me. Jennifer’s Oedipalization of Tony’s ducks, her projection of castration onto the psychic terrain, and her authoritative announcement of his mother’s malady (“I say…”) enact the various interpretive and procedural crimes of which Deleuze and Guattari accuse psychoanalysis in Anti-Oedipus. In A Thousand Plateaus, Deleuze and Guattari describe a process of “becoming-minoritarian” in which the deterritorializing flow of a subject’s desire leads him or her away from a “major identity,” defined as that of “white man” or “adult male” (291). They specifically name the “mob groups of the United States” as one of those aggregates in society that, by virtue of their “nondenumerable” relation to the State, are particularly ripe for becoming-minoritarian (288).

     

    23. This is the second objection Hill raises against Seshadri-Crooks. The first (even less convincing to my mind) is that her model “provides no basis on which to describe the interactions . . . between differently colored or multiracial groups” (243n19). But the signifying chain of racial subject positions described by Seshadri-Crooks seems designed to account for just such interactions.

     

    24. S4E3 crystallizes the difference emphasized elsewhere in the series between Italian-American and African-American history. Carmella turns on the television in time to catch an episode of the daytime talk show, Montel, evidently dedicated to racial and ethnic pluralism in the U.S. Montel, the show’s African-American host, observes that “each community” has had to suffer economically for the “experiment that is the United States.” Phil, a spokesperson for Italian-American community, agrees:

     

    Phil: Take my grandparents, two simple people from Sicily, who braved the perilous middle passage--Montel: Whoa–middle passage? That’s a term for the slave trade.

     

    Spokesperson: Montel, the Italian people in this country also suffered discrimination–

     

    Montel: Earth to Phil! We're talking three hundred years of slavery here!

     

    Works Cited

     

    • Auster, Albert. “The Sopranos: The Gangster Redux.” Lavery 10-15.
    • Babb, Valerie. Whiteness Visible: The Meaning of Whiteness in American Literature and Culture. New York: New York UP, 1998.
    • Bernardi, Daniel. “Introduction.” Classic Hollywood, Classic Whiteness. Minneapolis: U of Minnesota P, 2001. xiii-xxvi.
    • Chase, David. “Peter Bogdanovich Interviews David Chase.” The Sopranos: The Complete First Season. DVD. HBO-Time-Warner, 2000.
    • Cosco, Joseph P. Imagining Italians: The Clash of Romance and Race in American Perceptions, 1880-1910. Albany: SUNY P, 2003.
    • D’Acierno, Pellegrino. “Cinema Paradiso.” The Italian American Heritage: A Companion to Literature and the Arts. New York: Garland, 1999. 563-690.
    • Davis, Mike. Magical Urbanism: Latinos Reinvent the U.S. City. London: Verso, 2000.
    • Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: U of Minnesota P, 1983.
    • —. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: U of Minnesota P, 1987.
    • Frankenburg, Ruth. “The Mirage of Unmarked Whiteness.” The Making and Unmaking of Whiteness. Eds. Birgit Brander Rasmussen, Eric Klineberg, Irene J. Nexica, and Matt Wray. Durham: Duke UP, 2001. 72-96.
    • —. White Women, Race Matters. Minneapolis: U of Minnesota P, 1993.
    • Gabbard, Glen O. The Psychology of The Sopranos: Love, Death, Desire, and Betrayal in America’s Favorite Gangster Family. New York: Basic, 2002.
    • Guglielmo, Jennifer, and Salvatore Salerno, eds. Are Italians White? How Race is Made in America. New York: Routledge, 2003.
    • Hayward, Steven, and Andrew Biro. “The Eighteenth Brumaire of Tony Soprano.” Lavery 203-14.
    • Hill, Mike. After Whiteness: Unmaking an American Majority. New York: New York UP, 2004.
    • Johnston, Dawn Elizabeth B. “Way North of New Jersey: A Canadian Experience of The Sopranos.” Lavery 32-41.
    • Kincheloe, Joe L., and Shirley R. Steinberg. “Addressing the Crisis of Whiteness: Reconfiguring White Identity in a Pedagogy of Whiteness.” White Reign: Deploying Whiteness in America. Ed. Joe L. Kincheloe, Shirley R. Steinberg, Nelson M. Rodriguez, and Ronald E. Chennault. New York: St. Martin’s, 1998. 3-29.
    • Lacey, Joanne. “One for the Boys? The Sopranos and Its Male British Audience.” Lavery 95-108.
    • Lavery, David, ed. This Thing of Ours: Investigating The Sopranos. New York: Columbia UP, 2002.
    • Means, Patrick. Men’s Secret Wars. Grand Rapids: Revell, 2000.
    • Messenger, Chris. The Godfather and American Culture: How the Corleones Became “Our Gang.” Albany: SUNY P, 2002.
    • Nochimson, Martha P. “Waddaya Lookin’ At? Re-reading the Gangster Genre Through ‘The Sopranos.’” Film Quarterly 56.2 (2003): 2-13.
    • Orban, Clara. “Stereotyping in The Sopranos.” VIA: Voices in Italian Americana 12.1 (2001): 35-56.
    • Paglia, Camille. “The Energy Mess and Fascist Fays.” Salon 23 May 2001. <http://www.salon.com/people/col/pagl/2001/05/23/oil/index2.html>.
    • —. “Feinstein for President, Buchanan for Emperor.” Salon 27 Oct. 1999. <http://www.salon.com/people/col/pagl/1999/10/27/paglia1027/index.html>.
    • Pattie, David. “Mobbed Up: The Sopranos and the Modern Gangster Film.” Lavery 135-45.
    • Rasmussen, Birgit Brander, Irene J. Nexica, Eric Klinenberg, and Matt Wray, eds. The Making and Unmaking of Whiteness. Durham: Duke UP, 2001.
    • Roediger, David R. The Wages of Whiteness: Race and the Making of the American Working Class. 1991. New York: Verso, 1999.
    • Rogers, Mark C., Michael Epstein, and Jimmie L. Reeves. “The Sopranos as HBO Brand Equity: The Art of Commerce in the Age of Digital Reproduction.” Lavery 42-57.
    • Santo, Avi. “‘Fat Fuck! Why don’t you take a look in the mirror?’: Weight, Body Image, and Masculinity in The Sopranos.” Lavery 72-94.
    • Seshadri-Crooks, Kalpana. Desiring Whiteness: A Lacanian Analysis of Race. New York: Routledge, 2000.
    • Stokes, Mason. The Color of Sex: Whiteness, Heterosexuality, and Fictions of White Supremacy. Durham: Duke UP, 2001.
    • Strate, Lance. “No(rth Jersey) Sense of Place: The Cultural Geography (and Media Ecology) of The Sopranos.” Lavery 178-94.
    • Valladao, Alfredo G.A. The Twenty-First Century Will Be American. London: Verso, 1996.
    • Ware, Vron and Les Back. Out of Whiteness: Color, Politics and Culture. Chicago: U of Chicago P, 2002.
    • Yacowar, Maurice. The Sopranos on the Couch: Analyzing Television’s Greatest Series. New York: Continuum, 2002.

     

  • During Auschwitz: Adorno, Hegel, and the “Unhappy Consciousness” of Critique

    Steven Helmling

    Department of English
    University of Delaware
    helmling@udel.edu

     

    As was already pointed out in Dialectic of Enlightenment, strict positivism crosses over into the feeblemindedness of the artistically insensible, the successfully castrated. The narrow-minded wisdom that sorts out feeling from knowing and rubs its hands together when it finds the two balanced is–as trivialities sometimes are–the caricature of a situation that over the centuries of the division of labor has inscribed this division in subjectivity. Yet feeling and understanding are not absolutely different in the human disposition and remain dependent even in their dividedness. The forms of reaction that are subsumed under the concept of feeling become futile enclaves of sentimentality as soon as they seal themselves off from their relation to thought and turn a blind eye to truth; thought, however, approaches tautology when it shrinks from the sublimation of the mimetic comportment. The fatal separation of the two came about historically and is revocable. . . . Ultimately, aesthetic comportment is to be defined as the capacity to shudder, as if goose bumps were the first aesthetic image. What later came to be called subjectivity, freeing itself from the blind anxiety of the shudder, is at the same time the shudder’s own development; life in the subject is nothing but what shudders, the reaction to the total spell that transcends the spell. Consciousness without shudder is reified consciousness. That shudder which subjectivity stirs without yet being subjectivity is the act of being touched by the other. Aesthetic comportment assimilates itself to that other rather than subordinating it. Such a constitutive relation of the subject to objectivity in aesthetic comportment joins eros and knowledge.

     

    –Theodor Adorno, Aesthetic Theory 331

     
    The 1944 “Introduction” to Dialectic of Enlightenment announces the book’s indictment of “enlightenment,” that it has abdicated “[die] Arbeit des Begriffs” (Horkheimer and Adorno, Dialektik 14). The German phrase–a Hegelian chestnut–is Englished as “the labor of conceptualization” in John Cumming’s 1972 translation (xiv), and as “the work of concepts” by Edmund Jephcott in 2002 (Jephcott xvii).1 Together the two translations show, as neither can by itself, the stretch of the German, which suggests both the work that concepts do, and the labor that making ourselves conscious of the problematics of the concept–“thinking about thought” (Cumming 25), “to ‘think thinking’” (Jephcott 19)–imposes on us. “The concept” is too diffuse and ubiquitous a theme in Adorno to treat here. It evokes the mind’s engagement at once with the world and (à la Hegel) with its own self-consciousness in that engagement; for Adorno, the “labor of the concept” is an imperative from first to last. I want to test the premise that for Adorno, complementary to the project of thinking about thinking–“the concept”–is an effort or struggle that I will call “the work of affects” or “the labor of affectualization.” Horkheimer and Adorno thematize this labor in their “excursus” on Odysseus and the Sirens, as a founding myth of what Adorno consistently denounces as “ataraxia“–a culture-wide affective discipline, or repression, which grounds the instrumental “domination of [external] nature” in an internalized, instrumentalizing domination of affect itself. “The need to lend a voice to suffering,” writes Adorno, “is the condition of all truth,” a premise that rejoins affect and concept, feeling and thinking, to enact Adorno’s protest against the separation of these categories–these domains of experience–in Western culture (Negative Dialectics 17-8). For Adorno, “the labor of the concept” itself involves laboring to uncover, focus, articulate, and express its properly affective elements, however repressed or distorted, fetishized or reified. Affect must be completed, “rescued,”2 even redeemed, by being concretized in the labor of, in the Hegelian formula, “apprehending it as thought”; likewise, thought–the labor of the concept–must suffer the ordeal through which alone thinking may be apprehended as feeling. Adorno urges that to “think thinking” obliges us to think our feeling, to feel our thinking–and (what our traumatic history has perhaps most inhibited in us) to feel our feeling as well.

     

    This essay explores Adorno’s “labor of affectualization” both as theorized in his arguments and as performed in his writing practice–in the modernist and self-conscious way, to adapt Gertrude Stein, that his writing is written. A touchstone throughout will be Adorno’s chief model and counter- or cautionary example, the “optimistic” authorial carriage of Hegel, whose utopian promise Adorno’s “unhappy [critical] consciousness” would reinscribe under the rubric of the “broken promise.” I hope to enlarge our sense of the function or “effect” of “style” (to call it that) in Adorno’s critical project, with reference to other figures (Hegel, Marx, Nietzsche, Weber, Freud, Heidegger) that can be “constellated” usefully with it. I conclude with a look at the 1944 “Introduction” to Dialectic of Enlightenment, in which the deliberate “difficulty” of the book is thematized as motivated by the difficulties, both intellectual and emotional, of its historical occasion (enlightenment’s calamitous devolution into the barbarism of World War Two). I also read the book’s first chapter, which enacts the program (both critical and affective) for which the “Introduction” serves as manifesto. The larger aim is to describe, evoke, and, in ways other commentators on Adorno seem to me to have missed, to account for the sheer power and voltage of Adorno’s critical output, in which thinking and writing–and feeling–seethe, and in their agitation impel each other to levels of force quite unlike anything to be found in the work of anyone else.

     

    Aesthesis and Anaesthesis

     

    Adorno’s desire to “rescue” repressed affect finds perhaps its most extreme test, a sort of limit-case, in a 1959 lecture in which Adorno speaks feelingly of “the emotional force of Kant’s Critique of Pure Reason” (30). Most readers today, I wager, will raise eyebrows at this characterization. It was apropos of Kant, after all, that Terry Eagleton joked that in the tradition of philosophical aesthetics, “the aesthetic might more accurately be described as an anaesthetic” (196)–and indeed Adorno himself characterizes Kant’s aesthetics elsewhere as “a castrated hedonism, desire without desire” (Aesthetic Theory 11). Adorno’s Kant anticipates that “heroism of modern life” (the black-suited bourgeoisie assisting in stoic dispassion, “not breaking up its lines to weep,” nor even presuming to expect a speaking role, at the funeral of its own passional energies) to which Baudelaire paid the back-handed compliment of an uncharacteristically muted mockery. Kant’s “emotional force,” that is to say, partakes of that struggle against emotion and feeling that Dialectic of Enlightenment traces back to the episode of the Sirens in the Odyssey. Eagleton’s “anesthetic” notwithstanding, for Adorno, Kant’s “emotional force” lies in the ineradicable felt force of the agon itself, the drive for “domination” of emotion and affect, given that the reified norm, in Adorno’s indignant indictment, typically cedes the victory to numbness not only in advance, but also in principle.

     

    Adorno’s project is heavily invested in an ambition to undo this anaesthesis or (Adorno’s own frequent protest-word) “ataraxia“–that is, to redeem the numbness programmatized in modern, bourgeois, enlightenment projects, whether aesthetic or scientific; or, if “redeem” seems too messianic, to “rescue” (Adorno’s own word) for “critical” and “conceptual” purpose the affective force normatively repressed in our culture’s sundering of thought and feeling. This is an ambition emphatically not to be realized by simply adding an “effect,” lending atmospherics to the substance of an argument, much less the adrenaline jolts of a moralized ressentiment. Adorno evokes the “emotional force of Kant’s Critique of Pure Reason” to prepare for the broader stipulation, a page later, that “the same, the identical theses may have completely different meanings within the general parameters, the general emotional thrust of a given philosophy” (Kant’s Critique 31). Which is to say that the “emotional thrust,” the affect and cathexis, of an argument are not some merely epiphenomenal froth upon a putatively substantive content or “theses” that might as well (or better) be considered dispassionately. No, Adorno here states explicitly that the content, the “theses,” bear different meanings according to the argument’s “emotional thrust”: the affective cathexis of the text thereby becomes determinative, even constitutive, of the text’s “meanings.” Thus the programmatic dispassion of critique generically stands revealed and indicted as an ideology, “an imaginary” conquest of fear, another instance of that “anaesthesis” or “ataraxia” that Dialectic of Enlightenment laments as an impoverishing entailment of our civilization, a bourgeois “coldness” (Minima Moralia 26), from Homer’s Sirens to Baudelaire’s “modern heroism” and beyond. If I risk putting this in tones that may seem a bit overwrought, it’s to underline the point that Adorno here renders explicit a program, for critique at large and for his own critical practice in particular, that his writing everywhere enacts.

     

    Adorno protests the analytic disjunction or (his code-word) chorismos (Greek for “separation”) of sciences, knowledges, discourses. He aims to rejoin these discourses dialectically in configurations or “constellations” whose transgression against positivist habits of categorization is much of their heteroclite, fish-and-fowl, apples-and-oranges point. For modern purposes, the milestone of enlightened chorismos is Kant, whose intervention in the “contest of faculties” was meant to produce a ceasefire, a disengagement of the combatants–in Kant’s time, philosophy and theology. Kant’s covert motive was that philosophy displace theology as arbiter among the disciplines, but his overt proposal was that the warring faculties agree to disagree: they were separate discourses, exercising different kinds of “Reason” on different, non-overlapping, problems. The outcome was not what Kant had hoped for: while philosophy and religion were engrossed in their “contest,” the real power was passing to the empirical sciences and their new, and (Adorno thought) fatally narrow canons of truth and fact. This disaster–how enlightenment thinking neutralized, indeed, reversed its own radical potential–is what Adorno meant by “the dialectic of enlightenment.” The “contest of faculties” was protracted and often covert, but as time passed the outcome was increasingly clear. For the losers (philosophy, religion, and art), the defeat was sweetened by a sequestration that allowed each of them to reign in its own highly circumscribed domain. This “enlightenment” regime tolerates aesthetic discourses as specialized disciplines on condition that they moderate or renounce their claim to “truth”; by the same token, the truth-discourses of science offer as condition (almost as guarantee) of their “truth”-value their principled refusal of any affective voltage. Implicit in this compact is that “affect” as such is without truth-value: is even, indeed, an obstacle to truth. Adorno assails these ideological premises constantly, and he ends his career, in Aesthetic Theory, with his most sustained effort to valorize art’s claim to being a kind of “truth-discourse”–in part by stipulating the conditions under which art achieves truth, in part by so reconfiguring the question that one puzzles to remember how art can ever have seemed not “true.”

     

    Aesthetic Theory labors to redeem the aesthetic by undoing the chorismos of thought and feeling that has deprived art of philosophical efficacy. Indeed, the most insistent theme of the book’s vast ensemble of theme-and-variations is that art and philosophy are phases of a continuous activity; neither is valid without the other; they need each other; they complete each other. Adorno is tireless in urging that the restoration of critical force to art involves the “labor of the concept”; but he is pretty tight-lipped about the complementary program, of restoring to philosophy (and critique, theory, science: to what he wants to restore as “truth-discourses”) something of the affective or aesthetic charge or cathexis they only illusorily renounce in any case. This reticence raises two embarrassments I want to acknowledge here. The smaller one is that Adorno’s reticence about affect produces, absent argued discriminations from him, some slippage in my account between “affect” and such terms as “feeling,” “cathexis,” and “suffering.” On this I can only beg your forebearance, and hope my speculations earn their keep. The other embarrassment is more substantial: if Adorno means to “rescue” affect, then why is “affect,” as a theme, so repressed in his work? Why isn’t he more explicit about it? The answer I’d most like to give is that Adorno counts on the high affective voltages of his writing to make the point, as if coming right out and saying it would be a gaffe on the order of explaining why a joke is funny. Modernism generally plays down affect, in ways sometimes to be read as a kind of (mock-) ataraxia (Céline), sometimes as a kind of restraint (e.g., “impersonality”) meant actually to heighten affect, but generally as a refusal or critique of the excesses of so much nineteenth-century art (academic painting, Chopin, Wagner–too many examples). Adorno shares in that critique, and I would say his work risks an emotionalism that most tight-lipped moderns refuse. I suppose, too, that Adorno shied away from making the case explicitly for fear of its being mis-taken to mean that philosophy is a “merely subjective” expression, that is, “aesthetic” in precisely the diminished senses that Adorno means to protest and redeem in his dialectical reinvention of it in Aesthetic Theory. Adorno regularly protests against the “merely subjective” gambit, as a reductive psychologism; in Adorno’s own account of the subject/object relation, there is no such thing as the “merely subjective” because the very condition of subjectivity is its dialectical engagement with the objective. (For Adorno, “the concept” is the function of this engagement, the medium or mediation of the subject’s dialectic with the objective.)

     

    In any case, the implication of the affects in the “truth-discourses” is ubiquitous in Adorno–for example in his surprisingly frequent assimilations of philosophy (et al.) to music: in the very title of Philosophy of Modern Music; in the resonances with Hegel in the Beethoven fragments (see any of the numerous references in the book’s Index); and in quotations like this one, from the early (1932) essay, “On the Social Situation of Music”:

     

    Music will be better, the more deeply it is able to express–in the antinomies of its own formal language–theexigency of the social condition and to call for change through the coded language of suffering. . . . The task of music as art thus enters into a parallel relationship to the task of social theory. . . . solutions offered by music in this process stand equal to theories. (Essays on Music 393)

     

    But the premise is put more globally in many places–as in this, from the late (1961) essay, “Opinion Delusion Society”:

     

    The moment called cathexis in psychology, thought’s affective investment in the object, is not extrinsic to thought, not merely psychological, but rather the condition of its truth. Where cathexis atrophies, intelligence becomes stultified. (Critical Models 109)

     

    Or, as he writes elsewhere, “the need to lend a voice to suffering is the condition of all truth” (Negative Dialectics 17-8). And in what is undoubtedly his most-remembered utterance–“To write poetry after Auschwitz is barbaric” (Prisms 34)–Adorno might seem to limit the argument, by citing an atrocity that threatens to beggar all affect, indeed, all expression–which would have to mean, all critique as well. For surely Adorno’s anxiety about poetry after Auschwitz encompasses anxiety about the continuance of critique and philosophy after Auschwitz as well–a way of putting it that helps uncover the utopian wishfulness in the famous assertion that “philosophy lives on because the moment to realize it was missed” (Negative Dialectics3). But those who deplore what they take to be the hair-shirt defeatism or melodramatizing “unhappy consciousness” of the “after-Auschwitz” remark would do well to ponder Adorno’s own comment a decade and a half later:

     

    I once said that after Auschwitz one could no longer write poetry, and that gave rise to a discussion I did not anticipate . . . [I]t is in the nature of philosophy–and everything I write is, unavoidably, philosophy, even if it is not concerned with so-called philosophical themes–that nothing is meant quite literally. Philosophy always relates to tendencies and does not consist of statements of fact. . . . it could equally well be said . . . that [after Auschwitz] one must write poems, in keeping with Hegel’s statement in his Aesthetics that as long as there is an awareness of suffering among human beings there must also be art as the objective form of that awareness. . . . [The question whether one can write poetry after Auschwitz should rather be] the question whether one can live after Auschwitz. . . . [I]n one of the most important plays of Sartre . . . a young resistance fighter who is subjected to torture . . . [asks] whether or why one should live in a world in which one is beaten until one’s bones are smashed. Since it concerns the possibility of any affirmation of life, this question cannot be evaded. And I would think that any thought which is not measured by this standard, which does not assimilate it theoretically, simply pushes aside at the outset that which thought should address–so that it really cannot be called a thought at all. (Metaphysics 110-1; cf. Negative Dialectics 362)

     

    This passage brings together a number of themes I want to foreground here: the evocation of high ambition, or vocation, or doom (“everything I write is, unavoidably, philosophy”); the adviso that in philosophy “nothing is meant quite literally”; the rootedness of art and philosophy alike in “an awareness of suffering,” and in the duty to objectify (in the Hegelian sense) that suffering; the ultimate question of “the possibility of any affirmation of life,” tellingly evoked by way of Sartre, rather than the (at the time) more fashionable, certainly more affectively subdued, mot on suicide from Camus’s Myth of Sisyphus. And indissociable from these thematics is the affect that the passage mobilizes on behalf of that thematics–mobilizes, or indeed communicates, and I mean “communicate” in the sense not of transmission from sender to receiver, but of a making-common, of communion, between writer and reader, and in that sense the evocation of “an objective form” of “that awareness [of suffering among human beings].”

     

    Adorno’s writing, indeed, in the largest sense, his project, involves an affective investment–that “labor of affectualization,” or “work of affects”–and to that extent his project is something like “aesthetic” in the radically enlarged senses of Adorno’s own Aesthetic Theory. Adorno’s aesthesis is quite the reverse of the glamorous “strong pessimism” and “tragic” ecstasies in which Nietzsche affects to find art’s “redemption by illusion.” All such exaltations of strength and tragic heroism Adorno disdains as “imaginary consolations”; his own ideation tends rather to abjection–and not as the elective asceticism so (ambivalently) conjured by Nietzsche, but as the traumatic burden imposed on us by history, a burden of anguishes in which critique inevitably participates, which it can only attempt, however impossibly, to “work through”:

     

    Unquestionably, one who submits to the dialectical discipline has to pay dearly in the qualitative variety of experience. Still, in the administered world the impoverishment of experience by dialectics, which outrages healthy opinion, proves appropriate to the monotony of that world. Its agony is the world’s agony raised to a concept. (Negative Dialectics 6)

     

    The concept of agony must be, must be concretized as, must be made (in the writing, in the reading) agonizing–and agonistic. If Wittgenstein famously sneered that the concept of sugar is not sweet, Adorno consistently retorts, in effect, that the concept of suffering ought surely to hurt. Indeed, given the implication of sugar in the development of the Atlantic slave trade, the American plantation system, the development of banking, credit, and other fiduciary devices in the inauguration of capitalism, I would expect Adorno to urge that the concept of sugar must be very bitter indeed to the critical intelligence that is mindful to “constellate” the concept, including the brutal history, with the sensual and quotidian spatio-temporality of your mocha latte. The proposition that “the concept of sugar is not sweet” is true only in a trivial (and trivializing) sense; “agony raised to a concept” can only be a lie if in the raising conceptualization makes itself into an analgesic against the agony. The very phrase protests the habit of thinking that conceptualization “raises” painful material above (away from) suffering: on the contrary, in Adorno the agony is what “the concept” raises itself to.

     

    “Agony Raised to a Concept”

     

    Hence, in “lending a voice to suffering,” critique itself must be painful. We might call this Adorno’s “after-Auschwitz” imperative, with the stipulation that in Adorno’s work this critical affect long pre-dates Auschwitz–not to mention that two of Adorno’s most poignant books (Minima Moralia and Dialectic of Enlightenment) were composed, literally, “during-Auschwitz.” Dialectic of Enlightenment scorns the official optimisms and triumphalisms of modernity’s ideological cheerleaders–from the “revolutionary” scenario of the Stalinist left through the meliorist grand narrative of liberalism to the apocalyptic fantasias of fascism–since it was in pursuit of these diversely ideological happy endings that so much horror was unleashed. Whatever their other conflicts, it was the policy of all three camps that the needs of morale-management (propaganda) must cast critical questioning and truth-telling of any kind as “defeatism” and “pessimism”–reminder enough that critical “unhappy consciousness” like Adorno’s was, in his own lifetime, quite the reverse of ivory-tower indulgence. In the context of this optimism/pessimism force-field, Adorno’s citation of Hegel as advocate for an awareness of human suffering is telling, because it was Hegel’s “optimism” as much as Marx’s that underwrote the official optimism of Soviet Marxist-Leninism. For many, especially after the War, Hegel’s sanguine view of human history seemed, especially in light of Hegel’s professional success post-1816, a “false consciousness” or worse, a Panglossian dishonesty. Adorno often chides Hegel on not dissimilar grounds (“the guaranteed paths to redemption [are] sublimated magic practices” [Jephcott 18]); the Right Hegelians did, after all, have a case.3

     

    I think it’s fair to say that every critique or reservation Adorno mounts of Hegel involves this issue: the ideological delusions, the imaginary consolations, the false consciousness, the bourgeois “coldness” (Minima Moralia 26) of Hegel’s “happy consciousness.”4 There is for Adorno a “darker” Hegel–a Hegel of repressed-always-returning “unhappy consciousness”–and Hegelian precept and Hegelian example figure everywhere in Adorno’s work. The vocation of the concept, the dialectic, mediation, contradiction, negation; the imperative to rethink historically the un- or trans-historical Platonic-Aristotelian “hypostases” of hallowed philosophical tradition; the deconstruction (if you’ll permit the anachronism) of the hallowed metaphysical binary of appearance and reality, noumenon and phenomenon; the insistence on the philosophical dignity of the latter (that phenomena have, contra Plato, a “logos” and that there is, in consequence, a phenomeno-logy): these and many other Hegelian motives attest to Adorno’s large investment in Hegel. Not for nothing does Adorno observe, in one of the Beethoven fragments (#24): “In a similar sense to that in which there is only Hegelian philosophy, in the history of western music there is only Beethoven” (Beethoven 10).

     

    For Adorno as for Hegel, philosophy/critique is no ivory-tower exercise for a “disinterested” elite, but rather a labor in the service of humankind. Both write in the long “physician to an age” tradition, which makes “unhappy consciousness” part of the illness to be cured: this is the programmatic impulse registered in the serenity of Hegel’s own textual voice, which has so often seemed to the politically conscious unduly “optimistic”–as if Hegel looked on the horrors of the French Revolution and the Napoleonic wars with a smile of unflappable composure. Adorno’s concern lest such textual effect, or affect, be taken as a merely “subjective” expression of the author has its analogue in Hegel’s own cautions about the solicitations of “unhappy consciousness.” Hegel, we should remember, writes in the historical moment when “happiness” first became charged with political and social meanings and emotions. Thomas Jefferson made its pursuit an inalienable human right in an age when Rousseau, Lessing, Schiller, Wordsworth and many others dared imagine a “sentimental” or “aesthetic education” in which the promise of cultivated pleasures would supplant corporal punishment as incentive to learning, indeed, to self-making. (Compare the crucial role Hegel assigns in the Phenomenology to Bildung, between “ethics” [Sittlichkeit] and “morality” [Moralität].) It was after all the age of Schiller’s “play,” of his Ode “An Freude” so stirringly set to music by Beethoven (and now the anthem of the European Union), of the utopian visions of Fourier, Saint Simon, Robert Owen. For these and other figures of the great Revolutionary age, the thrilling prospect here was of “happiness” (or the pursuit of it) as a collective, popular, democratic endowment or “right”–no longer the elite privilege exclusive to those fortunate enough to be philosophers, as it was for Plato, Aristotle, the Stoics, Epicureans, and after (for all of whom eudaimonia was, again, a pursuit heavily invested in dispassion).

     

    Hegel of course knows that happiness, especially collective human happiness, is easier said than done: how, in an age of revolutionary and counterrevolutionary violence, to keep from despairing over your morning newspaper–this is precisely the problem with which Hegel grapples in the famous “slaughterbench of history” passage in his 1830 lectures on The Philosophy of World History. Hegel doesn’t merely own that history is a nightmare; his further aim is to prescribe for the demoralization that historical consciousness entails. Hegel notes first the simplest defense-mechanism–self-congratulation on having escaped the carnage:

     

    we draw back from the intolerable disgust with which these sorrowful reflections threaten us, into the more agreeable environment of our individual life–the Present formed by our private aims and interests. In short we retreat into the selfishness that stands on the quiet shore, and thence enjoy in safety the distant spectacle of “wrecks confusedly hurled.” (21)

     

    But the other temptation, the more dangerous one, Hegel seems to imply, anticipating Nietzsche, is ostentatious despair of the breast-beating and hand-wringing sort. Such “sentimentalities” (as Hegel calls them) can become self-perpetuating, for

     

    it is not the interest of such sentimentalities, really to rise above those depressing emotions; and to solve the enigmas of Providence which the considerations that occasioned them, present. It is essential to their character to find a gloomy satisfaction in the empty and fruitless sublimities of that negative result. (21; see also 34-5)

     

    Only Terry Eagleton still chides Adorno’s “during-Auschwitz” despair as “defeatism,” but to many others today it can still seem to be precisely such a kind of critical “unhappy consciousness”: at best a merely personal whining, at worst a kind of moral Pecksniffery, in either case a source of (Hegel) “gloomy satisfactions” that can become compulsive or addictive in the fashion most recently theorized (“Enjoy your symptom!”) in Slavoj Zizek’s ingenious reinventions of Lacan, or protested in accents of Nietzschean brio in the “kynicism” of Peter Sloterdijk. Adorno, as it happens, anticipates these very objections in a fragment in Minima Moralia (written contemporaneously with Dialectic of Enlightenment, in the last year of World War Two):

     

    Subjective reflection, even if critically alerted to itself, has something sentimental and anachronistic about it: something of a lament over the course of the world, a lament to be rejected not for its good faith, but because the lamenting subject threatens to become arrested in its condition and so to fulfill in its turn the law of the world’s course. Fidelity to one’s own state of consciousness and experience is forever in temptation of lapsing into infidelity, by denying the insight that transcends the individual and calls his substance by its name. (16; on the following page the “name” is spelled out: “society is essentially the substance of the individual.”)

     

    I take “good faith” here to be ironic: Adorno is accusing “such sentimentalities” (as Hegel calls them) of something very like a Sartrean “mauvaise foi,” a moralized or psychologized version of Rousseau’s “amour-propre,” a (dubiously) “good faith” that Adorno wants to turn, like a Nietzsche in reverse, into a “bad conscience.” What gives critical “unhappy consciousness” its validity is that it belongs to “the matter at hand,” and to the critique of it, not merely to the subjectivity of the critic.

     

    Some qualifications are necessary here: Hegel posits “unhappy consciousness” (Phenomenology 111-38) to diagnose precisely the sort of moral addiction or compulsion outlined above. He presents it as coincident historically with the advent of Christianity in the Mediterranean world, and as confluent with Greco-Roman Skepticism and Stoicism. For Hegel, “unhappy consciousness” expresses a relation to some “beyond” that is inaccessible in this world; it thus assumes an “abstract negation” of this-worldly attachments, and of the very possibility of this-worldly happiness as such. For this specific but chronic historical-spiritual disorder, Hegel believes that the fullness of history has, in the modern age, at last enabled a philosophical remedy, which the Phenomenology prescribes: a critical self-consciousness that will redeem the promise of this-worldly happiness by the practice of “determinate negation.” Hegel distinguishes between the two kinds of negation, “abstract” versus “determinate”: “abstract negation” is negation wholesale, allowing for no discriminations of quality; it thus enjoys the all-or-nothing force of merely quantitative judgment, and entoils itself in all the regressions of “bad infinity”–a formula anticipating the Thanatos of the implacably punitive super-ego diagnosed by Freud. “Determinate negation,” by contrast, is qualitative: it negates (criticizes) some particular state of things, and with a particular concept of some better state of things to replace or “sublate” it. “Determinate negation” thereby contributes to the coming-into-existence of a better world.

     

    The later Hegel was wont (as his younger self was not) to portray this process in providential Christian terms. Christianity originated in the “abstract” (or “symbolic”) and Asiatic consciousness of ancient Judaism, but by virtue of its long and shaping experience in Western history–the Hellenization that assimilated it with art and philosophy, the Romanization that politicized it and accommodated it to the needs of statecraft, and the Germanization that suffused it with the spirit, even the libido, of freedom–Christianity so evolved as to realize, in modern times, the qualitative fulfillment or “incarnation” of what had originally been its merely “abstract” promise: the realization, from the Asiatic premise that “one is free,” through the classical aristocracy of “some are free,” to the democratic ideal emerging in the revolutionary events of Hegel’s own lifetime that “all are free,” that the state should represent all citizens.

     

    To the extent that Hegel intends “unhappy consciousness” as a diagnosis or symptomatics of a malaise specific to the mood or mode of “abstract negation,” it might seem exactly the wrong phrase to apply to the textual effect or affect of Adorno’s critical project, which always seeks to “objectify” its claims, to refuse any construction of them as “merely subjective.” But the passage just quoted makes clear that the distinction between “subject” and “object” is one that Adorno’s writing practice, no less than his arguments in such essays as “On Subject and Object” (Critical Models 245-58), effectively refutes–for the passage not only diagnoses the malaise in question, but confesses its own infection as well. “The lamenting subject” suffers this malaise or “unhappy consciousness” will he or nill he–“even if [especially if?] critically alerted to [him]self.” Where Hegel proposed a rationale for overcoming “unhappy consciousness” and attempted to realize it as an effect or affect in his philosophical writing, Adorno more conflictedly insists that the despair of the critic cannot and should not be so complacently “overcome” in the critique: it is stuff and substance of “the matter in hand,” of the problems critique addresses. To claim to have transcended or “sublated” “unhappy consciousness” is for Adorno a false consciousness, “an imaginary solution to a real contradiction.”

     

    Hegel’s “Happy Consciousness”?

     

    For Adorno, clearly, the premise of Hegel’s “optimism” is generally circulated too simple-mindedly. In every chapter of the Phenomenology, after all, the human race, groping after happiness, relapses into ironically inventive and original new forms of “unhappy consciousness.” Indeed, the narrative of Hegel’s Phenomenology is scarcely less insistent than the Bible itself that moral misery is both chronic and productive for humankind, from Genesis 3’s access of shaming knowledge, or knowledge-as-shame, to Paul’s “I had not known lust, except the law had said, Thou shalt not covet” (Rom. 7:7), and John of Patmos’s “Revelation” of the fury of divine vengeance. In the Bible, “consciousness” is regularly projected as both effect and cause of pain, fear, suffering and anguish of spirit–“For in much wisdom is much grief; and he that increaseth knowledge increaseth sorrow” (Eccles. 1:18). Greco-Roman culture does the same, from the tears of Achilles and Priam, the family curse driving the Oresteia, and the fated suffering of Oedipus to the lachrymae rerum of Vergil. Greek philosophy projected a relief from such suffering, and in the narrative of Hegel’s Phenomenology, “Reason” makes its “first, and therefore imperfect, appearance” with “the beyond” of the “supersensible world” (87-8), a passage allegorizing the advent, in Socrates and Plato, of the high philosophic tradition. The elite subculture of ancient Greek “philosophy” was strongly invested in overcoming affective unhappiness, and often philosophy seems virtually “identifiable” with eudaimonia, a “happiness” whose condition is liberation not merely from unhappy affects, but from affect as such. In the Plato-and-Aristotle tradition, affect itself is unhappy, and the eudaimonia of the philosophers is projected precisely as antidote or narcotic (Eagleton’s “anaesthetic”) against the vagaries of affect rather than as a redemption of happiness in any affective sense.

     

    Viewed through the historical lens of Hegelian “unhappy consciousness,” the Greek discovery of what Hegel calls “the supersensible” appears as too complacently oriented to the apatheia of “the beyond”; on Hegel’s showing, not until Christianity humanized the transcendent as “God” incarnate, and abjected itself before this God as a slave before its master, could unhappiness provide “Reason” with its proper (because at last duly cathected) challenge, that of overcoming unhappiness and abjection as such. Greek “Reason” was de-anthropomorphized; it could not thus appear as “master” in relation to the philosopher-“slave”; only as projected in human form can God, or “Reason,” inspire the kind of unhappiness that becomes consciousness in the first place. To say that in Hegel’s Phenomenology it is Reason that incarnates itself in human form is to indicate Hegel’s most fundamental reinscription of Christianity. “Reason is the slave of the passions”: Hume’s aphorism, read Hegel-wise, may illuminate my point here, stipulating of course that “the passions” are the unhappy ones. Hegel projects “Reason” as the slave destined, in abjection to the master, first to conceive and finally to attain an “independent [and “happy”] self-consciousness” that the master will never know. Try to project this allegory onto the Greek philosophical tradition, and you get a notably chillier picture: something like Plato’s Republic, with the philosophers as “guardians” in serene service to Logos itself as represented by, but precisely not personified or incarnated in, the philosopher-king, spinning the ideological fictions necessary to keep the benighted populace happily in the dark of the benignly ideological cave. Not for Plato and Aristotle, elite beneficiaries–“masters”–of a “some are free” society, any consciousness or idealization of the self as slave. Only in Diotima’s allegory of love in the Symposium does ancient Greek “philosophy” approach an abjected self-idealization, and an “unhappy consciousness” that is dynamic and productive, because affective, in anything like Hegel’s way.5 How telling that its name should be “love.”

     

    So much, on Hegel’s showing, for “the first, and therefore imperfect appearance of Reason.” By contrast, at the close of the “unhappy consciousness” section, Hegel stages for “Reason” a more consequential second coming. The closing paragraph dramatizes the unhappy consciousness’s search for “relief from its misery” (Phenomenology 137); its very last sentence announces the advent to consciousness of “the idea of Reason.” What immediately follows, the next unit of the text, is the section (about a fifth of the Phenomenology ) called “Reason.” In the “unhappy consciousness” section, the alienations of “the beyond” are entoiled in early Christianity’s abjected sense of sin and guilt ([Spirit’s]”action . . . remains pitiable, its enjoyment remains pain” [138]), and the search for a “relief” from such “miseries” involves the “sublation” of such antithetical categories as action and obedience, guilt and forgiveness, particular self-surrender and universal will, by the ministrations of a “mediator,” a word whose antithetical connotations for a Protestant (Christ/priest) Hegel leaves in play, evidently to register the ambivalence of the Christian legacy. The driving force in Hegel’s narrative is “the negative,” the “unrest” and “counterthrust” associated with the not-at-all Platonic/Aristotelian theme of “freedom”: markers of Hegel’s determination to portray the very conflictedness of his World-Spirit history–and the affective no less than the logical extremity of its painful contradictions–as the agonizing but creative ordeal from which “the idea of Reason” first emerges in a form sufficiently “dialectical” to meet (or inaugurate) the challenges of the human story that Hegel wants to tell. Only as incited by affect (“unhappy consciousness”) does (Hegelian) “Reason” effectively enter, and change, history.

     

    The Hegelian grand narrative projects the fulfillments of Spirit as still far off, as “not yet,” and so qualifies Hegel’s supposed “optimism.” The “slaughterbench of history” passage amply attests to Hegel’s own “mental torture” at the state of the world, the misery against which the “optimism” of his writing, style as well as substance, attempts something like an exorcism, a performativity in the spirit of “fake-it-till-you-make-it,” a veritable therapy for the Weltgeist at large, anticipating “joyful sciences” from Nietzsche and William James’s “healthy-mindedness” to Wilhelm Reich, Norman O. Brown, and the self-esteem or “recovery” movement of today. One of Hegel’s own most striking ideograms (or “constellations”) for this project is reserved for the climactic lines that conclude the Phenomenology where the “Calvary of absolute Spirit” is juxtaposed to the secularized image of the sacramental chalice of communion from Schiller’s “Ode to Friendship” (493; for shrewd comment on Hegel’s misquotations of the Schiller, see Kojève 165-8). Here what Hegel had called in the 1802 “Faith and Knowledge” “the speculative Good Friday, which used to be [considered] historical” (qtd. in Kaufmann 100), meets, if not quite a speculative Easter, at least a speculative chalice of the wine that, for Hegel, should not merely betoken, but should actually be the communion of Spirit with, or better, as Human Consciousness, Reason, and Spirit as such. The Cross first, then the Resurrection: this Christian ur-narrativization of the evil/good, damned/saved binary re-enacts itself in Hegel’s paradigmatic assumption that happy consciousness can only be–and eventually will be–wrested from the unhappy kind. This is the ordeal Hegel calls “the labor and the suffering of the negative,” an ordeal he pictures, indeed, as Spirit’s harrowing descent into hell, to own or become death itself, to risk its “utter dismemberment” as the necessary condition of “finding itself”:

     

    this is the tremendous power of the negative; it is the energy of thought, of the pure “I.” Death, if that is what we want to call this non-actuality, is of all things the most dreadful, and to hold fast what is dead requires the greatest strength. . . . But the life of Spirit is not the life that shrinks from death and keeps itself untouched by devastation, but rather the life that endures it and maintains itself in it. It wins its truth only when, in utter dismemberment, it finds itself. . . . Spirit is this power only by looking the negative in the face, and tarrying with it. This tarrying with the negative is the magical power that converts it into being. This power is identical with what we earlier called the Subject. (Phenomenology 19)

     

    Spirit’s near-death experience lends itself to our thematics of the “labor of affects”: overcoming ataraxia in a liberation or re-animation of affect, as fundamental to, even constitutive of Spirit’s project, and its eventual reward–a project proleptic of many nineteenth- and twentieth-century reinventions of heroism as a psychological quest-ordeal, from Wordsworth and Coleridge, Baudelaire (“Voyage à Cythère”), Browning’s “Dark Tower” to Eliot’s The Waste Land, from the sensationalisms of Delacroix and Géricault to Nietzsche’s “strong pessimism” and Wagner’s grandiose dooms, to Freud (Everyman an Oedipus of anguishing self-inquiry) and Mann and Valéry. And, of course, Adorno. Any such list risks silliness, but it seems to me that Hegel’s supposed “optimism” has too long obscured his place in the range of figurations and applications of “tarrying with the negative.”

     

    Diagnosticians of Critique

     

    “Unhappy consciousness,” then, is a chronic human problem, something like, if not a “human nature,” then a chronic foible of our “species-being.” But there is a more (so to speak) parochial manifestation of the problem, the “unhappy consciousness” very specifically of critique. Adorno indicts critique for shirking the “labor of the concept” with a plangency, an “unhappy consciousness” palpable and audible in the very tone and voice of his prose, in a way to forbid the forgiving thought that critique’s fault has been merely a kind of laziness, or stupidity; the further premise that the labor of conceptualization implies also a “labor of affectualization” evokes deficits more morally cathected, deficits of honesty and of courage as well. It is a prominent theme in Dialectic of Enlightenment that “enlightenment” congratulates itself for its courage in facing a demythologized world stripped of the comforts of traditional illusions, but has proven itself to be motivated, no less than “myth” itself, by a drive to master and/or deny “fear,” to achieve an “imaginary” comfort or self-assurance in face of a world more complicated and threatening than enlightenment thereby dares to acknowledge.

     

    Hegel makes similar observations, though (usually) more as satiric jabs at common-sense philosophizing than as Adorno’s lamentation over culture-wide pathologies. Hegel, indeed, diagnoses every possible reason for what we might call a “resistance to philosophy”–fear of a death-like “loss” of the self in “doubt and despair” (Phenomenology 18-20, 49-51), “shame” at confronting the intellectual challenge and the “alien authority” of the new (35), “the conceit that will not argue” (41), narcissistic “enjoyment” in (or fixation on) one’s own unwittingly tautological “explanations” (94, 101). The one obstacle that does not occur to Hegel is the reader’s potential intellectual incapacity: Hegel writes not only as a writer/thinker utterly undaunted by the prodigious complexities his inquiry generates for itself, but as if in entire confidence that any reader not debilitated by the moral deficits just mentioned will be fully capable of following where Hegel leads. (I will confess to moments of thinking this the most extravagantly utopian of Hegel’s many dizzying “optimisms.”) When Hegel notes that “a fear of falling into error sets up a mistrust of Science,” he is referring to the enlightenment program, since Bacon and Descartes, of arriving at truth by eliminating all error and illusion: a skeptical, Occam’s-razor approach predicated on the hope that when error has been pared away, the remainder will be truth. But Hegel advises that we should “mistrust this very mistrust”:

     

    Should we not be concerned as to whether this fear of error is not just the error itself? Indeed this fear takes something–a great deal in fact–for granted as truth . . . [e.g.,] certain ideas about cognition as an instrument and as a medium, and assumes that there is a difference between ourselves and this cognition. Above all, it presupposes that the Absolute stands on one side and cognition on the other, independent and separated from it, and yet is something real; or in other words, it presupposes that cognition which, since it is excluded from the Absolute, is surely outside of the truth as well, is nevertheless true, an assumption whereby what calls itself fear of error reveals itself rather as fear of the truth. (Phenomenology 47)

     

    Hegel goes on to diagnose what appears as merely intellectual error in psychological terms, as a vanity and insecurity vitiating the intellectual courage of the inquirer. (Hegel becomes something of a psychologist of the foibles specific to intellectuals, an impulse and an interest Adorno continues.) Hegel indicts this unwitting “fear of the truth” as rationalizing an “incapacity of Science,” as indeed “intended to ward off Science itself, and constitute an empty appearance of knowing.” What Hegel calls “natural consciousness” (empiricism, that is, “sense certainty” elevating itself to a scientific claim) resists the “path” of the Notion (a.k.a. “the labor of the concept”) because “the realization of the Notion, counts for it [natural consciousness] as the loss of its own self” (Phenomenology 49). “The road can therefore be regarded as the pathway of doubt, or more precisely as the way of despair”–shades here of “tarrying with the negative” (19)–and “natural consciousness,” economizing its experiential investments to maximize pleasure and minimize pain, shrinks from the discomforts of such a path. But for Hegel, this despair and doubt are part of the “necessary progression and interconnection of the forms of the unreal [“natural”] consciousness [that] will by itself bring to pass the completion of the series” (50). Hegel goes on to outline, in effect, a therapy of Geist in its struggles with such despair and doubt, with the “anxiety” that attends them, with the “sentimentality” that resorts to a wishful optimism or eudaemonism against them, with the “conceit” that will tempt Geist to fortify its “vanity” in the face of such threats of “loss of self.” Hegel ends with the promise that the “unrest” of thought will eventually overcome the “inertia” these despairs produce, to renew the quest for truth or “the Absolute” (51-3).

     

    For Adorno, Hegel’s concluding promise rings false because Hegel speaks as if it were not a “broken promise” in the here-and-now world. Hegel’s genial and confident tone, in effect, belittles the resistance to philosophy–as if to laugh us out of our intellectual timidity–and offers its own brio as, so to speak, a down-payment on the world-historical promise of eventual redemption and happy consciousness. By contrast, Adorno, most of all in Dialectic of Enlightenment, means to frighten us into new awareness: not only of our very real peril, in the age of industrialized total war, but of the numbness and despair with which we have so far confronted it–or rather, contrived not to confront it. What Hegel satirizes as merely local or personal resistances or failures within the discipline of philosophical inquiry, Adorno diagnoses as a culture-wide pathology, whose lethal potential is all too evident in the age of Auschwitz and Hiroshima.

     

    Fear and Enlightenment

     

    The relevant response to that lethal potential is fear. In Dialectic of Enlightenment, fear is both a key theme and an overarching effect. In Adorno’s philosophical and critical tradition, fear, among the principal components of “unhappy consciousness,” has held a special, even a rather glamorous, place. In Hegel’s master/slave narrative, the “struggle for recognition” surmounts nature only if life is at stake in the struggle. For the slave who buys life at the cost of bondage, the trauma of mortal fear in combat remains the necessary condition of the subsequent achievement of “independence,” “self-consciousness,” and an instigating conception of “being-for-self.” Nietzsche similarly finds an authenticating experience of “pure terror,” “original pain,” and the like as the sine qua non of (just what wimpy modernity has closed its eyes to) “tragedy”; absent such experiences of terror, there arises (has already arisen) what Francis Fukuyama calls, following Kojève’s famous splenetic “end of history” footnote (158-62, n6), the “last man” problem: the fear that, should utopia ever arrive, humankind, delivered at last from all mortal challenges, will devolve into a thumb-sucking limbo of material complacency and moral insignificance. This anxiety motivates the conflicted attachment of so many to violence, as a guarantee (in ways René Girard diagnoses) of the values lost upon the “last man.” To be sure, anxieties lest the revolution happen non-violently would seem to be overblown. But the prospect that revolution might banish suffering and unhappiness altogether arouses ambivalence. Even Marx, in the most utopian of the 1844 manuscripts, the section called “Private Property and Communism,” avows that come the revolution, not all suffering will end, but only the “alienated” kind: “for suffering, apprehended humanly, is an enjoyment of self in man” (87). We need our fear, to make ourselves heroic.

     

    Further ideological uses of a glamorized fear also figure in the more individualized inflections of these themes running from Kierkegaard to Heidegger and early Sartre, in which fear is the guarantor of spiritual maturity and courage, a sort of macho philosophique, an openness of the self to moral extremities of fear and anxiety, refusal or innocence of which would be inauthenticity or “mauvaise foi.” In Kierkegaard, although the “religious” is the valorized other of the merely “aesthetic” life–Kierkegaard’s version of the “last man” vacuity–the political itself appears as, categorically, aesthetic: an evasion of the more challenging fears and tremblings that Kierkegaard projects as the exclusive (why not say) “enjoyments” of the most authentically lived life. Similarly in Heidegger, a courageous “being-towards-death” individuates and valorizes the existential Dasein against the massed, faceless, inauthentic “they” (“das Man“); compare Lacan’s grammatologized and historicized version of the story of the devolution of “modern man” from subject-“je” into object-“moi.” Adorno was prescient in complaining that such rhetorics resonated all too readily with the political vulgarizations of the cheerleaders for Thanatos (“Viva la muerte!”) and the SS Übermenschen flouting death’s-head insignia, encouraged by Himmler in explicitly Nietzschean language (“self-overcoming,” etc.) to withstand the urgings of conscience that would impede them in their heroic task of massacring the innocents.

     

    For Adorno, by contrast, “the goal of the revolution is the elimination of anxiety. That is why we need not fear the former, and need not ontologize the latter” (Complete Correspondence 131). For me, indeed, one of the most attractive things about Adorno is his visceral refusal of any such glamorization of fear, not least because the “violence” of which some intellectuals speak so grandiosely is often merely figurative–indeed, sheerly “imaginary.” Hegel’s “tarrying with the negative” (“to hold fast what is dead requires the greatest strength”) becomes in Adorno the more muted formula, “the embittering part of dialectics” (Negative Dialectics 151). Not for him the accents of Zarathustrian bravado, snook heroically cocked at the void. Adorno is more like Freud (and, with qualifications, Marx) in conceiving fear as a humiliation, a non-elective ordeal imposed on us by the brutality of our historical circumstances, a suffering that may or may not elicit heroism from some of the sufferers, but that is sure to damage and debase, not to ennoble, most of its victims. Like Freud, Adorno distrusts rhetorics that align the experience of fear with moral grandeur or spiritual profit, including those, like the “last man” anxiety, that put the case negatively. For Adorno, indeed, to posit the debasement of the “last man” as an argument against utopia would be ideological delusion: as if the “last man” deprivations weren’t already epidemic in the nightmare of our “administered world.” The motive Adorno most readily shares with Lacan, though Adorno’s moral plangency is at the farthest possible remove from Lacan’s knowing Schadenfreude, would be precisely his alarm at the masochistic human addiction to misery, to sentimentalizing rhetorics of amor fati, to the problematic neatly summarized by Zizek’s sarcastic injunction “Enjoy your symptom!” and instantiated by Kierkegaard, Nietzsche, Heidegger, and Kojève). Like Lacan, again, Adorno aligns this “weakening of the ego” with a “neutralization of sex,” a “desexualization of sexuality” (Critical Models 72-5) that oddly joins Marcuse’s “repressive desublimation” with de Rougemont’s extension of the Nietzschean “last man” lament to Eros. About the administered world’s “castrated hedonism, desire without desire,” Adorno’s diagnosis would be very much the Lacanian shake of the head at having given way on desire (Aesthetic Theory 11). (One recalls here Weber’s “iron cage,” “sensualists without heart,” etc., in the peroration to The Protestant Ethic.)

     

    So Adorno affects no pose, à la Kierkegaard, Nietzsche, and Heidegger, of facing down the abyss from which the rest of us cower away in denial; nor, on the other hand, does he make as if to smile it away, as Hegel does. If Adorno’s critical “unhappy consciousness” avoids the Scylla of Hegelian “optimism,” it equally steers clear of the Charybdis of (self-regardingly) “strong pessimism[s]” of the anti-utopian type so often mobilized in critiques of modernity. Adorno’s anxieties about modernity are not Huxleyan, but Orwellian, conjuring not the pampered “last man” whom Nietzsche so haughtily disdains, but rather the brutalized “administered subject” whose abasement before the domination of a “rationalized” world is achieved at the price of a “weakening of the ego” to produce the ironically named “authoritarian personality,” disciplined and conditioned in the regimes of the workplace and the routines of commodified pleasure as managed by the culture industry, a colonizing and exploiting appropriation, “for others,” of all “spirit,” of all subjecthood.

     

    The 1944 “Introduction”

     

    Written during the darkest days of World War Two, while Horkheimer and Adorno were refugees in the U.S., the Dialectic of Enlightenment manifests the “unhappy consciousness of critique” as a deliberate cathexis of fear in writing. Keeping the date of composition in mind–late 1943 to early 1944: “during Auschwitz”–the book aims to arouse the fear narcotized in enlightenment chorismos, the “division of labor” which assigns feeling and thinking to different agencies (art and science) to the detriment of both. (“The narrow-minded wisdom that sorts out feeling from knowing and rubs its hands together when it finds the two balanced is–as trivialities sometimes are–the caricature of a situation that over the centuries of the division of labor has inscribed this division in subjectivity” [Aesthetic Theory 331]). Horkheimer and Adorno project the ataraxia that enlightenment makes programmatic as foundational to the “dialectic of enlightenment” the book means to diagnose. Later in his career, Adorno frequently avowed the ambition to “rescue” this or that ambition, program, or value that modernity is in danger of forgetting; the project of excavating the “emotional force” of Kant’s philosophy (above) is an example, but it is a dim echo of the much more urgent, larger-stakes effort in Dialectic of Enlightenment to reawaken the energy of terror against which the enlightenment has deludedly, compulsively numbed itself. Fear is not merely the “textual effect” or affect of Dialectic of Enlightenment, but also the “motivation” of its thematic or indeed thetic burden, announced in the book’s opening sentences:

     

    Enlightenment, understood in the widest sense as the advance of thought, has always aimed at liberating human beings from fear and installing them as masters. Yet the wholly enlightened earth is radiant with triumphant calamity. Enlightenment’s program was the disenchantment of the world. It wanted to dispel myths, to overthrow fantasy with knowledge. (Jephcott 1)

     

    The book will go on to argue–or I had better say, to evoke, agitatedly, breathlessly, and reiteratively, in a way to enact its thematic of the deadlock or “standstill” that has reversed the developed world’s “progress” into “regress”–that so far from having “liberated [ourselves] from fear,” our very fear of fear, our anxious repression of our cultural and historical anxieties, has left us enslaved to fear every bit as much as the primitive trapped in the cycle of compulsive rituals that palliate the terror of human impotence in a terrifying world. Enlightenment prides itself on having escaped that cycle, but this very pride has become an illusion and a denial, a “sympathetic magic” against dreads cognate with those that entrap the primitive; the devolution of philosophy into positivism and technology has made of “scientific method” a denial of the unknown, an ethos that assimilates the unknown to the known, the new and the different to the “same old same old.”

     

    Hence our aborted “enlightenment,” “triumphant calamity,” progress reverting to barbarism, in obedience to an as-if fated “compulsion to repeat.” Hence “the curse of irresistible progress is irresistible regression” (Jephcott 28). The fear of fear itself has driven enlightenment to an illusory exorcism of fear, made this impulse its analgesic, its will to deny, in short, its “imaginary victory” over fear, a freedom from fear the more delusional, and (therefore) the more compulsive, the more terror threatens to engulf it. The social and other dislocations of modernization produced turmoil because the new is frightening–and it’s a collective reflex in societies engulfed by rapid development to try to master collective fear by refusing the new. Whatever affronts or perplexes or challenges enlightenment’s canons of domestication arouses “fear,” which enlightenment promptly and preemptively represses. “The cause of enlightenment’s relapse into mythology is to be sought . . . in the fear of truth which petrifies enlightenment itself” (Jephcott xvi).

     

    What the book argues about fear, repression, and the anxiety of the new, it also enacts in the writing. Against the backdrop of World War Two, the contrast of Horkheimer and Adorno’s authorial carriage with Freud’s is a useful handle. Freud’s “stoic” composure–the shocking disclosures delivered in tones of measured calm; the outrages to common sense and morals rendered only the more stinging for the lucidity of the delivery; the scandalized “resistances” to his work which Freud anticipates, and serenely takes as confirmation of it–all this is at the furthest remove from Dialectic of Enlightenment, whose prose is overwrought, urgent, and (often) recklessly obscure. And deliberately, self-consciously so, as we can read in the book’s 1944 “Introduction,” a manifesto in justification of the book’s obscurity and difficulty. The argument evokes and coordinates three axes of “difficulty,” each motivating, and motivated by, the others: the psychological difficulty of our traumatic history, past, present, and future; the intellectual difficulty of the philosophic-critical tradition whose materials the argument mobilizes; and the darkly enigmatic carriage of the self-consciously, deliberately difficult prose style of Dialectic of Enlightenment itself.

     

    Dated “May 1944,” just days before the allied landings in Normandy, and reprinted without change in subsequent editions and translations, the “Introduction” insists that the “difficulties” of the text are not to be set aside, that they are bone and blood of the book’s argument and intended effect, indeed, of its project and its problem: that they are “motivated,” programmatic, in ways the authors outline, “make thematic,” in the “Introduction” itself. If the text proper enacts or performs–the mot juste here is suffers–the difficulties of “the matter in hand,” the “Introduction” more explicitly reflects on them, and thus initiates the challenge of the text. From almost the opening sentence, the difficulties of the project are foregrounded:

     

    The further we proceeded with the task the more we became aware of a mismatch between it and our own capabilities. What we had set out to do was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism. We underestimated the difficulty of dealing with the subject . . . . (Jephcott xiv)

     

    The echo of Rousseau’s famous lament–“man,” born free, lives everywhere in chains–announces an attempt “to explain why” this should be so; the following sentence similarly conjures with the eleventh thesis on Feuerbach in a way to suggest, Marx’s provocation notwithstanding, that “interpreting” the world is quite difficult enough, even in default of changing it, and assumes (what Marx can only rhetorically have seemed to question) that there is continuity, not antithesis, between interpreting the world and changing it. In any case, “consciousness” is not a problem Horkheimer and Adorno are prepared to dismiss:

     

    We underestimated the difficulty of dealing with the subject because we still placed too much trust in contemporary consciousness. While we had noted for many years that, in the operations of modern science, the major discoveries are paid for with an increasing decline of theoretical education, we nevertheless believed that we could follow those operations to the extent of limiting our work primarily to a critique or a continuation of specialist theories. Our work was to adhere, at least thematically, to the traditional disciplines: sociology, psychology, and epistemology. The fragments we have collected here show, however, that we had to abandon that trust. . . . in the present collapse of bourgeois civilization, not only the operations but the purpose of science have become dubious. The tireless self-destruction of enlightenment hypocritically celebrated by implacable fascists and implemented by pliable experts in humanity compels thought to forbid itself the last remaining innocence regarding the habits and tendencies of the Zeitgeist. (Jephcott xiv)

     

    What had initially looked to be a set of “specialist” problems (“sociology, psychology, and epistemology”) turns out to challenge “philosophy” itself–and to challenge it not only on its wonted ground of “theoretical” awareness but also, more radically, on the higher-stakes ground of politics, culture, science, and the very fate of civilization, grounds on which philosophy has wanted to maintain a detached “innocence” that, Horkheimer and Adorno charge, even the most willfully “innocent” can no longer pretend is tenable. The urgency of the crisis is to be read in the very texture, the very “fragmentary” quality, of the text we are about to read: we might have expected that the move from specialist disciplines to the discipline of disciplines, philosophy, would entail an integration and comprehensiveness denied the specialisms (or rather, that the specialisms renounce on principle); instead, Horkheimer and Adorno’s “philosophical” effort to overcome the fragmentation of intellectual culture can itself yield only “fragments.” In the context of 1944, a phrase like “the tireless self-destruction of enlightenment” might have suggested images from front pages and newsreels of bombed-out cities, whole cultures reduced to rubble, to “fragments.” As we’ll see, Horkheimer and Adorno diagnose enlightenment as a rapaciously “analytic” (that is, atomizing, separating, distinction-making) habit or drive, or driven-ness, of thought that has already, in the name of science, fragmented the field of intellectual labor from within. Enlightenment’s divvying-up of disciplinary turf, modernity’s settlement of the “contest of faculties” thematized by Kant, this “innocence,” this renunciation of the larger, integrated, theoretically aware or “self-conscious” view that opens itself to the largest problems of the culture, is a large part of the problem, a major symptom–indeed, the pathology itself–of the “dialectic of enlightenment” Horkheimer and Adorno aim to diagnose and to prescribe for.

     

    The effort “to explain why” the world is in such dire straits obliges philosophy to overcome its wonted (ideological) “innocence,” to estrange or defamiliarize habits of thinking and of language long since turned ideological:

     

    If public life has reached a state in which thought is being turned inescapably into a commodity and language into a celebration of the commodity, the attempt to trace the sources of this degradation must refuse obedience to the current linguistic and intellectual demands before it is rendered entirely futile by the consequence of those demands for world history. (Jephcott xiv-xv)

     

    This seems a very “period” modernist or avant-garde disavowal of received conventions, but also a warning–for “even the most honorable reformer who recommends renewal in threadbare language reinforces the existing order he seeks to break by taking over its worn-out categorial apparatus and the pernicious power-philosophy lying behind it” (Jephcott xvii). Renewal of our debased language will involve expression and thinking, will contravene conventional cultural “demands” that are both “linguistic and intellectual”; the antinomy long dominant in Western critical discourses between the “textual” and the “thetic” is to be collapsed, even something like “deconstructed,” not only in the argued theory but even more in the self-consciously difficult writing practice of Dialectic of Enlightenment.

     

    But in dissenting from “current linguistic and intellectual demands” here, Dialectic of Enlightenment declares a crucial difference from (even implies a critique of) avant-gardism as usual, for in the modern arts, the search for new and uncorrupted expressive means typically identifies the “concept,” generically, as the enemy, and mobilizes against it in the name of the “concrete” particular, whose redemptive quidditas or “authenticity” the familiarizations of intellect have allegedly habituated and debased. (This axiomatic–why not call it an “ideology”?–replicates itself, of course, in many philosophical texts, and hence some of the Frankfurt School’s particular “existentialist” bêtes noirs, e.g., Heidegger, Jaspers, Scheler.) The twentieth-century arts, too, want to reclaim “truth,” but usually by circumventing the very conceptuality Horkheimer and Adorno set in place as a sine qua non of their project and conceiving “truth” aesthetically, as “immediate [that is, unmediated] experience.” From the Hegelian viewpoint of Horkheimer and Adorno, “mediation” simply is “the labor of the concept”; its repudiation, in the arts as in the empirical sciences, is itself an important symptom (Adorno’s frequent name for it is “nominalism”) of the predicament of modernity–that is, of the “dialectic of enlightenment”–that their book means to expose and indict. And redeem or “rescue,” in large measure, again, by the “labor of the affects,” that is, affectualizing “the labor of the concept” itself.

     

    “Mythic Fear Turned Radical”

     

    I want now to risk a very lengthy quotation that will display these difficulties, and a few new ones, together. It is one of the many projections in Dialectic of Enlightenment of the arc from prehistory to the present, from animism to enlightenment, and it enacts the “progress/regress” motif in the paradoxical gesture of a narrative whose point is to enact the failure of its own progress, to display the inextricability of progress and regression even at the risk of seeming to identify terms whose non-identity would seem to be the very condition of “dialectic” itself. So we have a thematic burden carried less in the details of what the sentences state or argue, than in the formal character of a passage that conducts itself as a quasi- or (even) pseudo-narrative. Crucially, the theme–the failure of progress, the regression to primitive unreason–is charged with dread by reason of the very cryptic-ness of its strange oracular utterance, its broad-brush laying about with complex and loaded terminologies whose meanings or connotations are not clarified or delimited, and above all its rhythm, its air of driven and breathless haste:

     

    The murky, undivided entity worshipped as the principle of mana at the earliest known stages of humanity lived on in the bright world of the Greek religion. Primal and undifferentiated, it is everything unknown and alien; it is that which transcends the bounds of experience, the part of things which is more than their immediately perceived existence. What the primitive experiences as supernatural is not a spiritual substance in contradistinction to the material world but the complex concatenation of nature in contrast to its individual link. The cry of terror called forth by the unfamiliar becomes its name. It fixes the transcendence of the unknown in relation to the known, permanently linking horror to holiness. The doubling of nature into appearance and essence, effect and force, made possible by myth no less than by science, springs from human fear, the expression of which becomes its explanation. This does not mean that the soul is transposed into nature, as psychologism would have us believe; mana, the moving spirit, is not a projection but the echo of the real preponderance of nature in the weak psyches of primitive people. The split between animate and inanimate, the assigning of demons and deities to certain specific places, arises from this preanimism. Even the division of subject and object is prefigured in it. If the tree is addressed no longer as simply a tree but as evidence of something else, a location of mana, language expresses the contradiction that it is at the same time itself and something other than itself, identical and not identical. Through the deity speech is transformed from tautology into language. The concept, usually defined as the unity of the features of what it subsumes, was rather, from the first, a product of dialectical thinking, in which each thing is what it is only by becoming what it is not. This was the primal form of the objectifying definition, in which concept and thing became separate, the same definition which was already far advanced in the Homeric epic and trips over its own excesses in modern positive science. But this dialectic remains powerless as long as it emerges from the cry of terror, which is the doubling, the mere tautology of terror itself. The gods cannot take away fear from human beings, the petrified cries of whom they bear as their names. Humans believe themselves free of fear when there is no longer anything unknown. This has determined the path of demythologization, of enlightenment, which equates the living with the nonliving as myth had equated the nonliving with the living. Enlightenment is mythical fear radicalized. The pure immanence of positivism, its ultimate product, is nothing other than a form of universal taboo. Nothing is allowed to remain outside, since the mere idea of the “outside” is the real source of fear. (Jephcott 10-11)

     

    This passage illustrates the fundamental–and entirely deliberate–narrative contradiction of Dialectic of Enlightenment, for the momentum of the passage, its energy or, so to speak, body-language as one reads, is narrative–we are reading a story–and yet it is a rum question at the close what, if anything, has been narrated. The passage ends much as it began–enlightenment ends where animism began–in fearful denial of the new or the “outside”; here as elsewhere, what is narrated is the failure of the narrative to achieve narrativity, that is, to accomplish the development, to unfold the new, which would be the sine qua non of narrative, the crucial change or “event” (outcome), the indispensable thing-to-be-narrated in the first place. The burden of this (specifically narrative) “performative contradiction” is that “the curse of irresistible progress is irresistible regression” (Jephcott 28)–and the non-transitive steady-state syntax of that sentence, subject and predicate joined by the present-tense copula, could stand as emblem of just what the narrative’s progress/regress enacts, or rather prevents being enacted. A particularly cryptic crux is the word “tautology,” here anticipating Adorno’s later assault on “identity thinking.” In the passage, “tautology” is not, to be sure, simply identifiable with “identity,” but acts as something like the surrogate of identity–of the retro- or primary identity of the origin (arché), not of the ultimate identity (telos) of the “Absolute.” As actant, in other words, “tautology” appears here as the fated antagonist of “language,” of “separation,” of apprehension of “the Other,” of non-identity, and of “dialectical thinking” itself: at the recurrence of “fear,” all achieved differences relapse, as if in obedience to the downward pull of a gravitational field, back to the ground of “tautology” again.

     

    But Horkheimer and Adorno want to preserve the Hegelian narrative as well as to cancel it; hence, near the middle of the passage, the agitating appearance of “language,” “concept,” and “dialectic” come onstage and momentarily seem, as narrative actants, capable of breaching the closure of “tautology,” the regime from animism to enlightenment, and of enabling a truly narrative movement of change. “Tautology” figures as their nemesis, the ruin of all that they would seem to promise. From the primitive awe of the spirit-name and its “linking horror to holiness,” the mere utterance of which becomes “expression” and then “explanation,” there arises a rudimentary anticipation of “the division of subject and object,” and hence the very Hegelian sense that “language expresses the contradiction that it is at the same time itself and something other than itself, identical and not identical. . . . [thus] speech is transformed from tautology into language.” It is as much from the interaction of these terms as from any extant notion we might have of their meaning that we infer what “tautology,” “language,” “dialectic,” and so on, connote here, what role they play in the “night of the world” drama unfolding on the page.

     

    We note the entry here of “contradiction,” a key term in Frankfurt School discourses, and of the problematic of “identity/non-identity” Adorno will later elaborate in Negative Dialectics. In this passage, the next term to agitate the text is “dialectic” itself, here staged as the condition of a redemption of the “concept” from its demotion to “the unity of the features of what it subsumes,” a nominalist formulation that reduces the “concept” to a mere enabling fiction. Against such nominalist dismissals of “the concept,” the text goes on to retroject what Adorno elsewhere calls “the kinetic force of [the] concept” (Philosophy of Modern Music 26) as Hegel “dialectically” reimagined it, back into antiquity, asserting that the concept “was . . . from the first, a product of dialectical thinking, in which each thing is what it is only by becoming what it is not.” The language of “dialectic” and “becoming” here summons the highest Hegelian vocation of the concept and of philosophy, which sets what can be thought against, and as the critique or “negation” of, what merely is, as a volitional element in the temporal stream (or narrative) of “becoming.” Having introduced the terminology, and the promise, of the dialectic, the passage now reverts to program, to stage the miscarriage of that promise: for “this dialectic remains powerless as long as it emerges from the cry of terror, which is the doubling, the mere tautology of terror itself.” (“Emerges from”: enlightenment may suppose it has surmounted the primal terror, but it has merely repressed it, and thus, unconsciously, prolonged it.) The passage then moves to enlightenment, which seeks to escape the “tautology of terror” by “demythologization,” by a systematic conquest of the source of fear, the unknown, and its conversion to knowledge–but this impotent dialectic continues despite itself, and unwittingly, to “duplicate” the “tautology of terror” rather than to undo it.

     

    That some such reversal or catastrophe befalls the enlightenment program, the general drift of the passage makes clear–though neither narratively nor, so to speak, syllogistically, is the exact course of this miscarriage spelled out. Rather there follows a sequence of problematic assertions, and oddly it is in the more obscure of these that the extent and irony of the failure emerge most clearly–in, for instance, the most challenging sentence here, which is also the shortest: “Enlightenment is mythical fear radicalized” (Jephcott 11). It happens this is a sentence (“Aufklärung ist die radikal gewordene, mythische Angst” [Horkheimer and Adorno, Dialektik 32]) that I prefer in Cumming’s translation: “Enlightenment is mythic fear turned radical” (16). Both translations preserve the etymological and other connotations of “radikal” in the German, but that buzzword makes harder rather than easier the question of what the sentence might mean. For the politically left reader Horkheimer and Adorno address, the first connotations of “turned radical” would be of progress, of “radicalization” as a desirable conversion or development: something has advanced from a complacent, muddled superficiality, has been “made conscious,” has been made political: radicalized. So far, the sentence might be read as endorsing the very ideology of enlightenment that, the context makes clear, the authors are in fact attacking.

     

    Another first-take reading, not incompatible with the first, might read “radicalized” or “turned radical” to suggest something like an eruption or explosion of mythic fear, as if announcing a sudden and transforming release of affects hitherto repressed and held in check–and of course the sudden unblocking of long-repressed energies is a familiar figure for revolution. But again, context counsels otherwise–the “universal taboo” is clearly a universal repression–so “radicalized” or “turned radical” clearly must mean something else: must mean, indeed, virtually the opposite: must mean something like, “enlightenment is primordial fear precisely not bursting up into expression from below, but on the contrary driven downward, back to the fundamental, to the roots.” “Radicalized,” in short, might mean “repressed”–the reverse of its usual connotation. The most apposite model I can adduce here is Freud’s account of trauma in section IV of Beyond the Pleasure Principle, according to which frightening stimuli “invade” the sensorium, which responds with a defensive “hypercathexis” the paradoxical aim of which is to achieve an “anticathexis,” by means of which the floods of overwhelming stimuli can be “mastered” and “bound,” and rendered thus “quiescent.” (Freud is elaborating here the “compulsion to repeat”–a model whose pertinence to Dialectic of Enlightenment seems the more compelling for going unmentioned by the authors.)

     

    And yet, having worked through the twists and turns above, not “cancelled” but “preserved” in all this conflictedness of suggestion and connotation against context and larger thought-rhythms, there persists some residue, some still-utopian potential, of the first reading: that enlightenment is indeed, or may somehow again be, a radicalization of mythic fear in the sense projected in the “labor of affectualization,” in effect the program of Dialectic of Enlightenment itself: to awaken the fear, terror, angst, dread that “the dialectic of enlightenment” has so far narcotized and repressed, and draw from the jolting accesses of affect thereby released a newly radicalizing energy that will make of “the unhappy consciousness of critique” an engine of advance and of the new, rather than a pitfall, a syndrome–an ataraxia–of defeat and repetition.

     

    This “and yet,” I want to argue, is the “dialectical” condition and/or effect of Adorno’s so affective and affecting prose. His challenge is as much moral and emotional as intellectual: as much about confronting fear–as immediate affect, as mediated concept, as meta-fear: the fear of fear itself–as about meeting the interpretive and cognitive challenges of a tough text in the daunting tradition of Hegel-and-Marx and after. This text, both in the writing and in the reading, enacts or suffers what it argues: the imperative labor of facing, in thought and in feeling, the Angst that has paralyzed thought and feeling both. The difficulty of the prose is meant to inflict this Angst on the reader, this “labor and suffering of the negative.” But–“and yet”–it is meant to agitate as well anxiety’s antithetical or dialectical other, hope–however unemphatic in the argument, however merely implicit in the movement, of the text.

     

    Most of my description here has made Dialectic of Enlightenment sound like a very despairing book–extravagantly, floridly despairing. It is indeed a text answering to Harold Bloom’s fine formulation, “an achieved anxiety” (96). But of course Horkheimer and Adorno do not mean to incite affects of fear for their own sake; that would be “mimesis” of the merely ideological kind–mere “repetition” of “symptom,” not critical negation. On the contrary, their “immanent critique” intends a “working-through” that must begin by making the traumas and anxieties of World War Two available to consciousness, even at the cost of terror, as indispensable prerequisite to any breach of the paralyzing captivity in which modern consciousness has languished. Adorno intimates as much in an unwontedly straightforward passage from a 1967 essay, originally a radio talk, called “Education after Auschwitz”:

     

    anxiety must not be repressed. When anxiety is not repressed, when one permits oneself to have, in fact, all the anxiety that this [after-Auschwitz] reality warrants, then precisely by doing that, much of the destructive effect of unconscious and displaced anxiety will probably disappear. (Critical Models 198)

     

    Hence the paradoxical “textual effect” (or affect) of Dialectic of Enlightenment, that what might seem Horkheimer and Adorno’s ne plus ultra of despair nevertheless achieves a kind of “relief” in what seems at first merely to repeat the very affects from which relief is sought. Only after an evocation of the pain and fear that have paralyzed us can there be any release of affective energies whose freeing might augur possibilities more hopeful: that there remain potentials of consciousness (thought and feeling, agony and concept, eros and knowledge)–potentials, in short, of critique–still to be mobilized. The critical is not yet–“not yet”–the utopian, nor is the promise (Stendhal’s promesse du bonheur) quite vouchsafed, let alone realized, its “broken”-ness repaired. Nevertheless, for all its extremities of Angst and terror, Dialectic of Enlightenment manages to arouse hopes that Freud or Weber would dismiss with a sadder-but-wiser shake of the head.

     

    Critique and/as Utopia

     

    I want to close with further consideration of how this happens–this “labor of affectualization,” this dialectical transubstantiation of despair into something like hope. The example above derived “hope” as something like a negatively stated motif inferable from what looks to be on its face a very dark passage indeed. I want now to locate such effects in, and ascribe them to, the compositional form or rhythm of Horkheimer and Adorno’s text: in the climax of chapter 1 of Dialectic of Enlightenment. We have been looking so far at passages from that program chapter of the book, passages–“Enlightenment is mythic fear turned radical,” e.g.–that have evoked the evil, the “triumphant calamity,” of the “dialectic of enlightenment.” For more than three quarters of its length, the chapter has diagnosed the “repression” of fear under whose pall enlightenment has sleep-walked into terror and evoked the fear itself to undo that repression. At a determinate point (we will look at it shortly) the text introduces, then prosecutes, its case for the necessity of critique–“thought” itself–as the only possible relief of our predicament. But from this sanguine argument, I want to elicit something more elusive: what I might call an intimation of the utopian, or (perhaps better) a “utopia-effect,” that is less argued in the book’s propositional content or logic (the Bilderverbot against picturing utopia remains in force), than enacted in its verbal energy, and even more in the book’s larger structural rhythms, its “through-composition,” to inflect the musical term with some of the connotations Adorno’s usage lends it, what he elsewhere calls the “agency of form” (Notes on Literature 114).

     

    The peroration, in the very last paragraphs of the chapter, reprises the motif of “thought” and its agency here evoked as “revolutionary imagination” and “unyielding theory”:

     

    The suspension of the concept, whether done in the name of progress or of culture, which had both long since formed a secret alliance against truth, gave free rein to the lie. In a world which merely verified recorded evidence and preserved thought, debased to the achievement of great minds, as a kind of superannuated headline, the lie was no longer distinguishable from a truth neutralized as cultural heritage. But to recognize power even within thought itself as unreconciled nature would be to relax the necessity which even socialism, in a concession to reactionary common sense, prematurely confirmed as eternal. In declaring necessity the sole basis of the future and banishing mind, in the best idealist fashion, to the far pinnacle of the superstructure, socialism clung all too desperately to the heritage of bourgeois philosophy. The relationship of necessity to the realm of freedom was therefore treated as merely quantitative, mechanical, while nature, posited as wholly alien, as in the earliest mythology, became totalitarian, absorbing socialism along with freedom. By sacrificing thought, which in its reified form as mathematics, machinery, organization, avenges itself on a humanity forgetful of it, enlightenment forfeited its own realization. By subjecting everything particular to its discipline, it left the uncomprehended whole free to rebound as mastery over things against the life and consciousness of human beings. But a true praxis capable of overturning the status quo depends on theory’s refusal to yield to the oblivion in which society allows thought to ossify. It is not the material preconditions of fulfillment, unfettered technology as such, which make fulfillment uncertain. That is the argument of sociologists who are trying to devise yet another antidote, even a collectivist one, in order to control that antidote. The fault lies in a social context which induces blindness. The mythical scientific respect of peoples for the given reality, which they themselves constantly create, finally becomes itself a positive fact, a fortress before which even the revolutionary imagination feels shamed as utopianism, and degenerates to a compliant trust in the objective tendency of history. As the instrument of this adaptation, as a mere assemblage of means, enlightenment is as destructive as its Romantic enemies claim. It will only fulfill itself if it forswears its last complicity with them and dares to abolish the false absolute, the principle of blind power. The spirit of such unyielding theory would be able to turn back from its goal even the spirit of pitiless progress. Its herald, Bacon, dreamed of the many things “which kings with their treasure cannot buy, nor with their force command, [of which] their spials and intelligencers can give no news.” Just as he wished, those things have been given to the bourgeois, the enlightened heirs of the kings. In multiplying violence through the mediation of the market, the bourgeois economy has also multiplied its things and its forces to the point where not merely kings or even the bourgeoisie are sufficient to administrate them: all human beings are needed. From the power of things they finally learn to forgo power. Enlightenment consummates and abolishes itself when the closest practical objectives reveal themselves to be the most distant goal already attained, and the lands of which “their spials and intelligencers can give no news”–that is, nature misunderstood by masterful science–are remembered as those of origin. Today, when Bacon’s utopia, in which “we should command nature in action,” has been fulfilled on a telluric scale, the essence of the compulsion which he ascribed to unmastered nature is becoming apparent. It was power itself. Knowledge, in which, for Bacon, “the sovereignty of man” unquestionably lay hidden, can now devote itself to dissolving that power. But in face of this possibility enlightenment, in the service of the present, is turning itself into an outright deception of the masses. (Jephcott 32-4)

     

    At the top of this final paragraph there is some wordplay in the German (Indem er für alle Zukunft die Notwendigkeit zur Basis erhob und den Geist auf gut idealistich zur höchsten Spitze depravierte, hielt er das Erbe der bürgerlichen Philosophie allzu krampfhaft fest [Horkheimer and Adorno, Dialektik 58]) that is better captured in the Cumming than in the Jephcott translation: “By elevating necessity to the status of the basis for all time to come, and by idealistically degrading the spirit for ever to the very apex, socialism held on all too surely to the legacy of bourgeois philosophy” (41). The play of “basis” and “apex” indicts equally both the “realism” of bourgeois self-preservation and the materialism of “official” Marxist-Leninism, and does so most dazzlingly by way of its witty (geistreich) reversal of the usual terms of the figure: bourgeois and socialist thought alike have “elevated” necessity to the “basis,” and “degraded” spirit (Geist) to the “apex.” For good measure, Horkheimer and Adorno characterize this officially “materialist” gesture of Stalinist orthodoxy as “idealist.” Consciousness as volatile as that seems almost to revoke its own “unhappiness” by sheer force of its wit: or at least, putting thus in play (or standing on its head) the cliché pyramid-image for the tired materialism/idealism shibboleth, such wit twists materialism’s all-too-righteous and literal-minded tail.

     

    Still, utopian consciousness isn’t given its head; these critical gestures are checked throughout by the reassertion of our ideological condition (turning now to the Jephcott translation): “By subjecting everything to its discipline, [enlightenment] left the uncomprehended whole free to rebound as mastery over things against the life and consciousness of human beings.” But the reversion works both ways, in what had by now begun to manifest as a regular rhythm of ideological condition alternating with revolutionary possibility: “But a true praxis capable of overturning the status quo depends on theory’s refusal to yield to the oblivion in which society allows thought to ossify.”

     

    This prose enacts the unremitting agon of a heroically “unyielding theory” against the powers of what the passage licenses us to call “domination uncomprehended”: in the passage’s own terms, the agon is against “the suspension of the concept”; in the Hegelian terms Horkheimer and Adorno evoke throughout, their struggle is for a renewal of “der Arbeit des Begriffs,” the “labor of the concept.” But “the oblivion in which society allows thought to ossify” is a deficit not merely of intellect, but of feeling as well: ataraxia, apathy, anaesthesis, asceticism, “coldness,” Odysseus roped to the mast, the rowers with ears deliberately, technologically deafened against song. The passage fuses concept and affect when it includes diagnosis of the affects, and of the disease or debilitated psychology or “learned helplessness” of the affects, that its own dialectical “labor” means to “work through,” redeem, overcome. Horkheimer and Adorno seek to adapt categories of individual psychological analysis to the domain of the social; more audaciously than Freud–here their alignment is rather with Hegel–they also mean to prescribe, for the social psychology of the “damaged life,” a “labor of concept and affect” that offers some deliverance from “unhappy consciousness.” As in Hegel there is the premise that “unhappy consciousness” results when people are alienated from their own powers and creations, which they can no longer recognize as their own (“the mythical scientific respect of peoples for the given reality, which they themselves constantly create”): resentment against what we take to be an externally “given reality” becomes at once shame at our impotence to change it and guilt at our debilitated desire to do so. In Horkheimer and Adorno’s social diagnostic, “guilt” is not the irredeemable liability with which wisdom resigns itself to (at best) merely coping; rather, “the fault lies in a context which induces blindness,” in a resignation to complicity in collective miseries that paralyzes the very energies that might undo the self-perpetuating structure of collective injury. “That might undo”: sounds utopian? It can sound no other way, in an “administered world” in which we have guiltily relinquished our power, in which our deluded guilt converts our Promethean potentialities into self-contempt and abjected, defeated passivity before “the way it is”: what Fredric Jameson, following Gunther Anders, calls the “Promethean shame” (315). This is an abjection cognate with that which Horkheimer and Adorno decry above, in which “even the revolutionary imagination feels shamed as utopianism, and degenerates to a compliant trust in the objective tendency of history.”

     

    In the energy of Horkheimer and Adorno’s prose, there is a “making conscious” as much affective as conceptual. “Consciousness without shudder,” we have quoted Adorno as saying, “is reified consciousness.” The implication is that unreified consciousness, full subjectivity, involves affect as well as cognition. If consciousness ensued (as in Hegel) from mere perception and sensation–of “shudder,” for example–“What later came to be called subjectivity, freeing itself from the blind anxiety of the shudder, is at the same time the shudder’s own development; life in the subject is nothing but what shudders, the reaction to the total spell that transcends the spell” (Aesthetic Theory 331). In this “self-transcending” work Adorno sees something very different from Aristotelian catharsis, prototype of the instrumentalization of affects whose culmination is the culture industry. Adorno opposes catharsis, if that would mean simply the neutralization of affect, the de-cathexis of what had been cathected: as he says elsewhere, “[Aristotelian] catharsis is a purging action directed against the affects and an ally of repression” (238). In Adorno’s model, the “shudder” persists in, indeed it simply is, “the reaction to the total spell that transcends the spell. ” It is both the spell and its transcendence. Just such casting-and-transcending of the “spell” under which enlightenment has lain numbed is the textual effect I have wanted to elicit in Adorno–a “labor and suffering of the negative” that “joins eros and knowledge” (331), affect and concept, and not merely evokes, but enacts, what such labor, sufficiently impassioned, can actually make of “the unhappy consciousness of critique.”

     

    Notes

     

    1. Citations of the Cumming translation of Dialectic of Enlightenment appear hereafter as “Cumming”; citations of the Jephcott translation appear hereafter as “Jephcott.” Note here also a recent translation of “Excursus I” of Dialectic of Enlightenment: “Odysseus or Myth and Enlightenment,” translated and with an introduction by Robert Hullot-Kentor, in New German Critique 56 (Spring-Summer 1992): 101-42.

     

    2. On the motif of “rescue” (“Rettung“) in Adorno, see Rolf Tiedemann’s note in Kant’s Critique 239 n4.

     

    3.

     

    Hegel’s conception of life was so philosophical that conservatism, revolution, and restoration, each in its turn, finds its justification in it. On this point the socialist Engels and the conservative historian Treitschke are in agreement; for both recognize that the formula of the identity of the rational and the real could be invoked equally by all political opinions and parties, which differ from one another, not as to this common formula, but in determining what is the rational and real, and what is the irrational and unreal . . . All the wings of the Hegelian school variously participated in the revolution of the nineteenth century, and especially in that of 1848. It was even two Hegelians who wrote in that year the vigorous Communist Manifesto. But the formula common to all of them was not an empty label; it stood for the fact that the Jacobinism and crude naturalism of the century of the “enlightenment” were henceforth ended, and that all men of all political parties had learned from Hegel the meaning of true political sense. (Croce, What is Living 67)

     

    Contrast Croce’s dry irony in those final words with the affective extremity driving the theme in Dialectic of Enlightenment.

     

    4. For Hegel as a philosopher of happiness, see Forster 11-125.

     

    5. At this point I intended to insert a qualification to the effect that my account here of “Reason” as a sort of narrative actant would apply only to the Phenomenology, and not to Reason’s profile elsewhere in Hegel; I meant to cite in particular the notorious Panglossian aphorism–“What is rational is actual, and what is actual is rational”–from the opening of the Philosophy of Right and Hegel’s response to outraged critics of it in the Encyclopedia Logic 6 and 7–but imagine my surprise to find, in both places, asides on Greek Philosophy confirming my hunch (see Philosophy of Right 10 and Encyclopedia Logic 28-31).

     

    Works Cited

     

    Works by Adorno

    • Adorno, Theodor W. Aesthetic Theory.Trans. Robert Hullot-Kentor. Minneapolis: U of Minnesota P, 1997.
    • —. Beethoven: The Philosophy of Music. Trans. Edmund Jephcott. Ed. Rolf Tiedemann. Stanford: Stanford UP, 1998.
    • —. The Complete Correspondence, 1928-1940. Trans. Nicholas Walker. Ed. Henri Lonitz. Cambridge: Harvard UP, 1999.
    • —. Critical Models. Trans. Henry W. Pickford. New York: Columbia UP, 1998.
    • —. Essays on Music. Ed. Richard Leppert. Berkeley: U of California P, 2002.
    • —. Kant’s Critique of Pure Reason. Trans. Rodney Livingstone. Ed. Rolf Teidemann. Stanford: Stanford UP, 2001.
    • —. Metaphysics. Trans. Edmund Jephcott. Ed. Rolf Teidemann. Stanford: Stanford UP, 2000.
    • —. Minima Moralia. Trans. E. F. N. Jephcott. London: Verso, 1974.
    • —. Negative Dialectics. Trans. E. B. Ashton. New York: Continuum, 1973.
    • —. Notes on Literature. Vol. 2. Trans. Shierry Weber Nicholson. New York: Columbia UP, 1992.
    • —. Philosophy of Modern Music. Trans. Anne G. Mitchell and Wesley V. Blomster. New York: Continuum, 1994.
    • —. Prisms. Trans. Samuel and Shierry Weber. Cambridge: MIT P, 1981.
    • Horkheimer, Max, and Theodor W. Adorno. Dialectic of Enlightenment. Trans. John Cumming. New York: Continuum, 1972.
    • —. Dialectic of Enlightenment. Trans. Edmund Jephcott. Stanford: Stanford UP, 2002.
    • —. Dialektik der Aufklärung. Gesammelte Schriften. Vol. 3. Theodor W. Adorno. Ed. Rolf Tiedemann. Frankfurt: Suhrkamp, 1996.

    Other Works Cited

    • Bloom, Harold. The Anxiety of Influence. New York: Oxford UP, 1973.
    • Croce, Benedetto. What is Living and What is Dead in the Philosophy of Hegel. Trans. Douglas Ainslee. London: Macmillan, 1915.
    • Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Blackwell, 1990.
    • Forster, Michael N. Hegel’s Idea of a Phenomenology of Spirit. Chicago: U of Illinois P, 1998.
    • Freud, Sigmund. Beyond the Pleasure Principle. Trans. James Strachey. Norton: New York, 1961.
    • Hegel, G. W. F. The Encyclopedia Logic: Part I. Trans. T. F. Geraets, W. A. Suchting, and H. S. Harris. Indianapolis: Hackett, 1991.
    • —. Phenomenology of Spirit. Trans. A. V. Wallace. Oxford: Oxford UP, 1977.
    • —. Philosophy of History. Trans. J. Sibree. Buffalo: Prometheus Books, 1991.
    • —. Philosophy of Right. Trans. T. M. Knox. London: Oxford UP, 1952.
    • Jameson, Fredric. Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham: Duke UP, 1991.
    • Kaufmann, Walter. Hegel: Reinterpretation, Texts, Commentary. Doubleday: Garden City, 1965.
    • Kojève, Alexandre. Introduction to the Reading of Hegel. Trans. Raymond Queneau. Ithaca: Cornell UP, 1980.
    • Marx, Karl, and Friedrich Engels. The Marx-Engels Reader. Ed. Robert C. Tucker. 2nd ed. Norton: New York, 1978.
    • Weber, Max. The Protestant Ethic and the Spirit of Capitalism. Trans. Talcott Parsons. Scribner’s: New York, 1958.

     

  • Interface Realisms: The Interface as Aesthetic Form

    Søren Pold

    Multimedia Studies and Comparative Literature
    University of Aarhus
    pold@multimedia.au.dk

     

    Until now, digital arts have largely been understood to belong in traditional genres or forms of art: we are said to have electronic literature, net.art, or electronic, techno music. Sometimes interesting discussions have arisen concerning the very ontology of digital art, and questions such as whether net.art should be seen within the tradition of the visual arts or as a form of literature connecting it to the different traditions and questions regulating these arts.1While it is not my intent to disconnect digital art from traditional art, or to argue for the irrelevance of the traditional forms of art, I will in the following establish the interface as an aesthetic and critical framework for digital art.

     

    The interface is the basic aesthetic form of digital art. Just as literature has predominantly taken place in and around books, and painting has explored the canvas, the interface is now a central aesthetic form conveying digital information of all kinds. This circumstance is simultaneously trivial, provocative, and far-reaching–trivial because the production, reproduction, distribution and reception of digital art increasingly take place at an interface;2 provocative because it means that we should start seeing the interface as an aesthetic form in itself that offers a new way to understand digital art in its various guises, rather than as a functional tool for making art (and doing other things); and, finally, far-reaching in providing us with the possibility of discussing contemporary reality and culture as an interface culture.

     

    In what follows I pursue these three lines of thought in order to outline the interface as an aesthetic form. I start by taking a brief look at the explorations of the interface undertaken in the fields of engineering and computer science in order to sketch out the traditions that dominate the design, functionality, and cultural conceptions of the interface. In these traditions, realism is the keyword–not a realism found in aesthetic tradition, but a realism that stems from the pragmatic urge in engineering to deal with the physical world. I then confront this realism with aesthetic realism and the question of how digital artworks can be seen as a reflection on and reaction to this. Finally, I analyze a computer game (Max Payne), a net.art game modification (Jodi’s SOD), and a software artwork (Auto-Illustrator) to show how they engage with the interface and what they make us see through and in it.

     

    The Engineered Image

     

    The graphical user interface (GUI) as we know it does not stem from an aesthetic tradition, but from an engineering tradition that has paradoxically tried to get rid of it. Until recently it has largely been understood in technical terms and developed in engineering laboratories. Important starting points were Ivan Sutherland’s first graphical, interactive interface in Sketchpad (1963), Douglas Engelbart’s Online System NLS (1968), which introduced information windows and direct manipulation via a mouse, and Alan Kay’s development of the desktop metaphor and overlapping windows.3

     

    Human-Computer Interaction (HCI) research continues this engineering tradition. From the beginning, HCI aimed to increase the “user-friendliness” and “transparency” of the interface and over the years has involved cognitive sciences, psychology, ethnographic fieldwork, participatory design, etc. A leading usability expert, Don Norman, explains the desire to eliminate the interface in “Why Interfaces Don’t Work”:

     

    The real problem with the interface is that it is an interface. Interfaces get in the way. I don’t want to focus my energies on an interface. I want to focus on the job. . . . An interface is an obstacle: it stands between a person and the system being used. . . . If I were to have my way, we would not see computer interfaces. In fact, we would not see computers: both the interface and the computer would be invisible, subservient to the task the person was attempting to accomplish. (209, 219)4

     

    Making the interface, its expression, and materiality more functional and transparent has been key to interface design and the accompanying academic discipline, HCI. In the broader cultural and social understanding of the computer, the tendency has been to understand the interface as transparent, preferably invisible, in order to produce a mimetic model of the task one is working on.5 Interfaces should be intuitive and user friendly, should not “get in the way” or otherwise be evident or disturbing. This has led to development of the ideals of direct manipulation and the WYSIWYG (What You See Is What You Get) slogan for the GUI, which became a leading sales argument for the Apple Macintosh from the mid-1980s.6 Perhaps the apotheosis of the transparent, invisible interface was Virtual Reality (VR), which was widely believed to be the next interface paradigm from the mid-1980s to about the mid-1990s, when it gradually lost steam. In the dominant perceptions of VR, the interface should be all encompassing and three-dimensional, and the user should be surrounded by an immersive, total simulation. The interface would thus simultaneously disappear and become totalized. Currently, some researchers in the field believe that the future of the interface lies in pervasive computing and augmented reality, envisioned as a new version of the all-encompassing interface, while others have more modest expectations.

     

    The Realisms of the Interface

     

    If the computer and the interface really had become truly invisible and transparent, computers would mingle almost seamlessly with the world as we know it–perhaps making it a bit “smarter.” If this were true, digital technologies would probably not have any paradigmatic effect on culture and aesthetics since they would not make a marked difference, but of course reality has proven otherwise, and we can now begin to acknowledge the massive cultural and aesthetic impact of digital technologies. It is my view that we can acknowledge this impact through digital art: how the interface changes what and how we see, how we experience and interact with reality, and how this reality is reconfigured through the computer. Digital art in general shows us the role of the interface and the significance of the interface as an aesthetic, cultural, and ideological object. Through reflexive and self-reflexive moments and strategies, digital art foregrounds the interface in ways that traditional software normally does not. Consequently, digital art becomes an important witness to the changes the computer has brought and is still bringing to our societies. Digital art and aesthetics can also help inform the HCI research field with regards to cultural and aesthetic aspects of the GUI.7

     

    In Interface Culture (1997), Steven Johnson argues that the interface is the most important cultural form of our time, comparing it to postmodern cultural and aesthetic forms. Johnson argues that we live in an interface culture, and that the shift from analogue to digital is “as much cultural and imaginative as it is technological and economic” (40). Lev Manovich develops this idea with his notion of the cultural interface, and artists, conferences, journals, and designers have started taking up the interface and its cultural, aesthetic impact.8

     

    What is an interface? The purpose of the interface is to represent the data, the dataflow, and data structures of the computer to the human senses, while simultaneously setting up a frame for human input and interaction and translating this input back into the machine. Interfaces have many different manifestations and the interface is generally a dynamic form, a dynamic representation of the changing states of the data or software and of the user’s interaction. Consequently, the interface is not a static, material object. Still it is materialized, visualized, and has the effect of a (dynamic) representational form. In this way, digital art corrects the ideal of transparency. Instead of focusing only on functionality and effects, digital art explores the materiality and cultural effects of the interface’s representationality. What are the representational languages of the interface, how does it work as text, image, sound, space and so forth, and what are the cultural effects, for instance, of the way it reconfigures the visual, textual or auditory? How does the interface reconfigure aesthetics and what does it do to representation, communication, and, in continuation of this, the social and the political? These are all important questions regarding the aesthetics of the interface, but one should not leave out the engineering roots of the interface, both in order to understand the full context and consequences of interface art and in order to see how digital art can feed back into its development. Therefore, postmodern and poststructuralist aesthetic theories should be balanced with the pragmatic realism of the engineers.

     

    Interfaces are often implemented as window screens with keyboards and mice, the so-called WIMP devices (Window Icons Menus and Pointers), but other information displays and interaction devices are of course possible, from different interface designs to different input and output devices such as VR helmets and gloves, the ambient displays and devices imagined within the domains of hybrid architecture, ubiquitous computing, augmented reality, pervasive computing, and so on. The interface aims to give us insight into the machine and its dataflow and can thus be understood as a realistic representation along the lines of the engineering tradition outlined above. It is most likely the predominant form of realism in contemporary culture, both conceptually and stylistically; however, it is far from naïve realism. As Johnson writes,

     

    put simply, the importance of interface design revolves around this apparent paradox: we live in a society that is increasingly shaped by events in cyberspace, and yet cyberspace remains, for all practical purposes, invisible, outside our perceptual grasp. Our only access to this parallel universe of zeros and ones runs through the conduit of the computer interface, which means that the most dynamic and innovative region of the modern world reveals itself to us only through the anonymous middlemen of interface design. (19)

     

    This suggests a different understanding of the interface’s realism than is suggested by the transparency ideal and WYSIWYG. The interface is, as suggested by the quotation from Johnson, rooted in an active and dialectical relationship between reality and representation, the interface entering in front of–or perhaps more correctly instead of–an increasingly invisible reality.9 Here we are closer to aesthetic realism–for instance, literary realism, which is not based on a naïve mimetic faith in the possibility of reproducing or depicting reality, but rather on a loss of immediate reality with the rise of urbanity, capitalism, and modern media. Consequently, aesthetic realism in broad terms represents an active and constructive reaction to a heterogeneous, mediated, complex, and symbolic reality.10

     

    The interface aims to visualise invisible data. It is a new kind of image originating in an engineering tradition and can be understood as an extension of instruments like radar and scientific tools, which do not represent any analogue image of reality but rather sheer data.11 As formulated by Scott deLahunta, the interface is “more information than likeness; more measurement than representation.” Consequently, realism is the dominant representational mode of the interface, even though it is a complex, informational, and postmodern realism.12 In the following, I shall point out three rather different kinds of interface realism: illusionistic, media, and functional realism. They are not mutually exclusive but are often coextensive and combined–for example, as layers in the same interface. The realist agenda is set by the engineering tradition; I will discuss how the three artworks reflect this realism from three different perspectives. Consequently, I shall argue that these artworks offer a realist perspective, even though at least some of them might not look traditionally realistic at first glance.

     

    Illusionistic Realism: First-Person Shooter

     

    Illusionistic realism drives the computer game industry and the demand for improved resolution and graphics, more realistic scenery, and better sound cards. In addition, the interfaces of computer games have developed toward a real-time generated 3D space, which is often seen from the perspective of the player and/or his or her avatar in the game. Since Wolfenstein 3D (1992) and Doom (1993), the First-Person Shooter (FPS) genre has developed into the Third-Person Shooter sub-genre, in which the avatar becomes a character with a personal story and a fictional perspective.

     

    The FPS perspective is in certain respects the apotheosis of the illusionistic interface. It derives from simulations and VR in its enactment of “the subjective, point-of-view aesthetics that our culture has come to associate with new media in general” (Bolter and Grusin 77). As Bolter and Grusin say, the representation strives toward immediacy.13 The FPS not only inherits the visual perspective, but also the ideologies that come with VR, which can be described as a super-individualized and apparently omnipotent linear perspective–a visualization of the bourgeois free individual.

     

    Traditionally, the FPS perspective is determined by the shooting range of impressive, phallic guns. The player perceives and interacts through oversized guns whose gendered implications are obvious. Indeed, the FPS genre can be said to overstate and in some cases even invert the ideal of the free bourgeois individual; one striking example of this is the gridlocked noir detective of the computer game Max Payne (2001)–a game marketed as “realism to the max.”14 However, the illusionism of the game is gradually reversed to offer an experience of mediated perception.

     

    The game’s narration starts at the very ending, and the player has to struggle for hours to reconstruct the plot in order to return successfully to this ending. As is typical of the genre, the main character and player-avatar, Max Payne, is caught in a stratified maze controlled by drug lords and corrupt police, and only a combination of clever tactics and desperate shooting will get him out, after which he is trapped in the next level. The player is caught in a space and a plot that are clearly controlled by others–by the mobsters and the urban spaces on the level of the plot and by the cybernetic game engine on the structural level.15 In this sense the cyber-noir narrative of Max Payne is a reversal of the ideals of interactivity as a way of setting the user free and giving him or her control.

     

    A closer analysis of Max Payne supports this view, which I shall elaborate in order to show how the experience of the interface is also a narrative experience. Max Payne seems almost like a comment to the heated discussion around the functioning of narrative in computer games.16 As mentioned, the game starts at the ending, and the player has to move back in story time in order to (re)construct the plot.17 The plot follows classical Aristotelian or Hollywood standards with three acts–a beginning, middle, and end–a point of no return, and increasing narrative tension. The story–and the game play–appears at first to be about exploring, enacting, and reconstructing a plot that is static, in the past tense, linear, and prescripted. Already through this immediate first level of the narrative it becomes clear that the game does not aim to fulfill the notions of interactivity. In any case, the player does not interactively control the plot; rather the game only allows the user to investigate and carry out an already firmly established plot. Just as the game inverts the ideologies of mastery and the sovereign individual inherent in the first-person perspective, it also runs counter to the libertarian notion that interactivity empowers the user. Rather than controlling the story, the player is trapped by the plot.

     

    The narrative serves more or less as a frame or motivation for the game play, but this is not all it does. Already in the third chapter of part one, a second meta-narrative layer is introduced. We know the ending and we are also quickly introduced to the usual clichés of Hollywood narration: the sudden destruction of the family idyll, the strong narrative conflict–even the weather is horrible in order to emphasize the sinister setting. In this sense we are less primarily engaged in the narrative; instead, the game designates the narrative as a cliché. All the signs of Hollywood narrative in an extreme, clichéd,noir version get thicker and thicker until they more or less get in the way, in the sense that they point toward narrative structure in general rather than support a particular narrative. In chapter three we are told that we are now “past the point of no return,” and the construction of the narrative is consequently laid out so explicitly that the game could easily be interpreted as a self-conscious intervention in the ongoing debate about the roles of narrative in computer games. Narrative becomes an effect to which the game alludes self-consciously and which it puts on but does not fulfill in the deep Aristotelian way imagined by the proponents of interactive narrative, such as Janet Murray. Instead narrative is only a surface or skin; it does not attempt to become hegemonic or to account for and relate to all aspects of the game, but, like postmodern novels and cinema, it alludes to narrative, quotes it, and deconstructs it, without fully enacting it. If narrative is a grand master-scheme that secures coherence, Max Payne at once enacts and challenges it.

     

    Hence, the game engages a meta-narrative that is explicitly conscious of its noir genre, even pointing out intertextual references: chapter three is called “Playing it Bogart” and other later references include “Noir York City.” Max Payne describes himself as someone who “had taken on the role of the mythic detective, Bogart as Marlowe, or as Sam Spade going after the Maltese Falcon.” Indeed, the main character, Max Payne, slowly reveals himself as just a narrational character–a role or a function in the narrative–which is highlighted by the symbolism of his name. Already in the beginning we are told to go back “to the night the pain started,” and in chapter three Max Payne enters a hotel “playing it Bogart,” while the “cheap mobster punks” there make fun of his name (“it’s the pain in the butt” and “pain to the max!”). It is no coincidence that Max Payne inherits a noir style, which from its outset was a media hybrid. Already in the noir cinema and novels of Raymond Chandler, noir was clearly a media hybrid of filmed novels and cinematic literature often set in a thoroughly cinematographic Los Angeles.18

     

    Through the overt character of the noir detective Max Payne we enter into what can be seen as the third level of the narrative, which is the mediated story or the story of mediated perception and recognition. Here we are closer to the story level, the game play, and how it mediates between the plot and the telling of the story. First we recognize the role that media such as newspapers, radio, and television play in creating a bridge between the plot and the story. Through various news clips we discover that the police are chasing Max Payne. Second, it is obvious that Max Payne is often hindered in seeing and sensing by darkness, fire, dream sequences, or drugs, which point out the mediated perception of the FPS by exaggerating the normal navigational difficulties.

     

    In this story of mediated perception, Max Payne is our senses, and he can endure a maximum amount of pain (if we just remember to grab some pain killers on the way), though his pain is only mediated by a red bar in the interface and narrated by his voice and through his frequent deaths–the ultimate failure of the story, after which the player has to reload a saved game and start the scene again. This mediation of Payne’s pain demonstrates the very perspective of the FPS game, at once mediated and illusionistic. The beginning of the third act, where Max Payne is drugged, shows this particularly, since the perspective is strangely widened and the movements slow down–defamiliarizing effects which emphasize and therefore demonstrate the machinery of the normal game perspective or interface.19

     

    The interface thus supports and becomes an important part of the story of mediated perception. The apparent immediacy of the illusionistic FPS interface is gradually but effectively turned into a hypermediated experience through the difficulties of navigating and seeing in the space of the game. This hypermediated experience is addressed explicitly in the first chapter of part three. In a graphic novel sequence in the drugged beginning of the third act, Max Payne first realizes that he is a character in a graphic novel and, in a strange, defamiliarizing repetition, that he is nothing but an avatar in a computer game: “Weapon statistics hanging in the air, glimpsed out of the corner of my eye. Endless repetition of the act of shooting, time slowing down to show off my moves. The paranoid feel of someone controlling my every step. I was in a computer game.”

     

    Figure 1: Max Payne Deconstructing the Illusionism
    Screenshot taken from the video game Max Payne.
    Max Payne is a trademark of Rockstar Games, Inc. ©2001 Rockstar Games, Inc. All rights reserved.

     

    Like the noir genre in general, Max Payne performs, as the Los Angeles-based cultural historian Norman M. Klein says, a “transformational grammar,” turning the utopian notions it enacts into their opposites (80). Consequently, we should categorize Max Payne as illusionistic media realism–realism that simultaneously engages in illusion and is a self-reflexive exploration of its own representational techniques and media. Max Payne is more than illusion. One gradually sees the media, techniques, aesthetics, and genres of the game in a process whereby it, though still engaging in illusion, gradually reveals itself as a self-reflexive and genre-conscious art form.

     

    Media Realism–Murder in the Museum

     

    The multimedia computer was introduced at the beginning of the 1990s as the result of an almost iconophilic belief in the power of “natural,” “universal,” and “intuitive” images. The advent of net.art can be regarded as a reaction to the iconophilia of the computer industry–as some sort of digital iconoclasm. Jodi, one of the pioneering groups of net.artists (recently the first net.artist to be canonized by a retrospective gallery exhibition[20]) is constantly aiming at demystifying the images on the screen through their works, showing the codes behind the screen and revealing the normally hidden flow of codes that the user interaction causes. In what often look like beautiful crashes, they show the symbolic and coded flipside to the interface.[21]

     

    Figure 2: Jodi’s Sod
    Image used with permission of the artist.

     

    Since the year 2000, Jodi has made a series of game modifications. If the mediated and hypermediated quality of Max Payne comes into view gradually through its illusionistic interface, Jodi’s FPS game modifications focus directly on the mediation–so much so that it is sometimes hardly possible to see the game at all. In one of their first games, Sod, the usual dungeons from the FPS classics Wolfenstein and Doom are changed to abstract white rooms, with geometric figures and patterns instead of Nazis and monsters.[22] “Murder in the museum” is what one could call their modification of the classical FPS to the white cube of the museum. The walls have been stripped of their textures, and what turn out to be doors between the various rooms look like one of the major works of abstract art, Malévic’s Black Square. The player is located in a suprematist, black-and-white art museum with a finger on the trigger. It is possible to navigate this abstract space, though it is impossible to see the walls; sometimes they are actually transparent. The basic FPS characteristics are still intact–the player navigates spaces and attacks or is attacked by enemies (appearing as two triangles)–but the experience is rather different from that of more traditional games. Jodi has dropped the illusionistic texture, thereby emphasizing that both space and interaction are based on abstract codes, algorithmic structures, and cybernetic interaction.

     

    In the case of Sod, reducing the computer game to geometry and algorithms comments on the illusionism in traditional games. However, it can also be seen as a comment on the debate about the value of computer games, a debate that recalls the conservative resistance to comic strips, rock ‘n’ roll, youth culture, and so forth. Sod is Wolfenstein stripped of its Nazi violence, turned into abstract art and placed in a “safe” context: the art museum. It is the computer game as “Art.” In this way Sod mocks the art world and high art; Jodi’s ironic modification also pays homage to computer games and gaming culture. Jodi do not turn their backs on popular game culture, but rather explore it, investigating its form and tactics; they do not stay in an autonomous art-related medium, but rather turn the aesthetics of the computer into art.

     

    Figure 3
    Figure 3: Jodi’s A-X
    Image used with permission of the artist.

     

    After Sod, Jodi made Untitled Game, a series of abstract computer games based on Quake, another classic FPS.[23] The series ranges from games taking place in an abstract system of coordinates, flickering moiré interfaces, glitch-like remixes of the original game to games that simply print the code controlling the interface on the screen instead of executing it. All these games can be considered critiques of the naïve illusionism that governs much of the computer graphics and computer games industries. But perhaps what is more interesting is how they demonstrate the elements of the interface, strip off the texture, and show the abstract geometry of digital space–how they demonstrate the materiality and mediality of the interface. The players often lose their orientation, but in turn they are given a unique experience of an abstract, modern, informational, and cybernetic space, an experience which in many ways gets closer to the computer and the functioning of the interface by creating a distance to the illusion. Jodi’s games point toward a sort of computer game that goes beyond the illusionistic, uses the interface as an instrument, and plays with its materiality. The interface, contrary to much HCI wisdom, does get in the way and become an obstacle–in fact, the interface is the experience and what you see is what you get!

     

    Media realism in net.art is often dominated by formal investigations; nevertheless, it is still realism in the sense that it deals with perception and sensation at the interface, though from a starting point directly opposed to the illusionistic realism described above. Whereas illusionistic realism starts with our senses and with the way sensation has been addressed in earlier media such as the cinema, and then collides with the forms and potential of the interface, media realism starts with the medium and then tries to show how it collides with our senses, knowledge, cultural forms, and expectations.

     

    Functional Realism–Don’t Push this Button

     

    Besides the visual dimensions of illusionary realism and media realism, there is another, more active dimension of realism that becomes especially important for computer users.[24] Functional realism in HCI regards the computer and its software as tools, as something “ready to hand.”[25] This functional perspective has produced software we use every day without thinking consciously about it. In general, usability engineering is about designing interfaces so we can use them instead of focusing on them. With functional realism we are perhaps closer to the engineering heart of HCI than with the more cultural and entertainment-related illusionistic realism. Functional realism is about control and functionality rather than illusion and immersion.

     

    Frieder Nake, one of the pioneers of computer graphics, perceives the computer as an instrumental medium that we use as a tool while communicating with it as a medium. This constant shifting between the instrumental use and the communicational and representational functions of the medium is inherent to most computer applications. Even computer games and net.art have an instrumental dimension related to navigation, interaction, and functions such as “save,” “open,” or “print.” Functional software tools also have representational dimensions, often as an intrinsic part of the very metaphor(s) behind the software design.

     

    It would be easy to dismiss the functional dimension of the computer as irrelevant to art and aesthetics, or to take belief in the power of representations for naïve realism–a belief that aesthetic theory routinely deconstructs. Still, functional realism is part of the computer interface, of its conceptualization, its visual aesthetics, and our understanding of it. Following Nake’s concept of the instrumental medium, we can see the computer as a new kind of machine that mediates the instrumental or functional and functionalizes the representational medium. This dual quality is turned into a standard mode of expression–for example, in digital images on the web and in multimedia that, besides their representational character, are embedded with hidden buttons, objects, and scripts.

     

    The functional interface and the functions of software have been investigated in art-related projects, especially in the emerging genre of software art. Digital artists have of course always used software, but in continuation of net.art’s media-realistic investigation into the very medium of the networked computer, digital artists have started working with software as an artistic medium. According to Cramer, software as an art form has some roots in conceptual art and early experimental software development. In 1970 the art critic Jack Burnham curated an exhibition called “Software” that included both conceptual art and experimental software. Cramer claims that this was the first conceptual art show, but it also included a prototype of Ted Nelson’s hypertext system, “Xanadu,” apparently the first public demonstration of hypertext. In both software art and conceptual art, the artist primarily creates the frame for an artwork, the concept. However, in software art, the concept (programming) includes both notation and execution–in other words, both the concept and its potential implementation (see Cramer, “Concepts, Notations, Software, Art”).[26]

     

    Besides having roots in conceptual art and literature, software art is a development of tendencies within net.art.[27] Artistic web pages were first executed in ordinary browsers like Netscape and Internet Explorer; around 1997 net.artists started to include in their artistic work the software that showed their pages. Some net.artists started working with web browsers, an early and significant example being I/O/D’s The Web Stalker, which has had several successors.[28] Software art is already established through annual festivals like the Read_Me festival curated by Olga Goriunova and Alexei Shulgin.

     

    One of software art’s groundbreaking works is Adrian Ward’s Auto-Illustrator (2000-2003), which investigates how software as an apparently functional tool also serves as a representational structure that influences culture, aesthetics, and art.[29] Auto-Illustrator demonstrates how the instrumental is also mediated, according to Nake’s understanding of the computer as an instrumental medium. It is a complete and fully functional drawing program that uses generative algorithms to draw autonomously as it responds to interaction with the user. In one feature, the user places a number of “bugs” on a drawing and adjusts their parameters while they draw autonomously. When the user draws circles, squares, and lines, she or he also turns out to cooperate with the software, which instead draws childish faces, childish houses, and twisted lines, respectively, according to adjustable parameters. In addition, the drawing can be manipulated, as in traditional drawing software, by a number of filters and plug-ins, but here these have their own autonomous will. For example, some filters such as “generate instant results” or those called “nq297p” create objects according to quasi-random generative procedures.[30]

     

    Figure 4: Adrian Ward’s Signwave Auto-illustrator
    Image used with permission of Adrian Ward, <www.auto-illustrator.com>.

     

    Auto-Illustrator is not radically different from ordinary software, since it uses the standard control interface of the modern GUI. It originated as a parody of Adobe interfaces from Illustrator and Photoshop. Ward explicitly criticizes the radically different interfaces so often seen in digital artworks for being as beside the point: “I want to express myself using the medium of consumer-based application software, which is why Auto-Illustrator doesn’t have a radical interface” (118). Auto-Illustrator follows the standard user interface guidelines, and even its strangest functions appear as tools and filters, like those found in more traditional software. Auto-Illustrator demonstrates an alternative to the way functionality is dressed up as a mere tool in ordinary software. It suggests that functionality includes all kinds of aesthetic and representational choices that are normally hidden under the tool metaphor. It demonstrates the representational character of the instrumental, and that the artist working with specific software has severely limited his or her potential for expression, but it also points out that mainstream software is limited in its potential for creativity because it has to stay within the range of the tool metaphor.

     

    Auto-Illustrator paves the way for a discussion of the ways the tool works as a representational and aesthetic structure, a discussion that potentially reconfigures the whole field around artist, tool, and artwork. As Ward expresses it, “if a plug-in can be authored that reproduces that trendy graphical effect that everybody loves, how does this impact upon the role of the graphic designer, and thus how does one treat the software that produced the design? Who is the designer? The user, or the author of the code?”[31] In this way, Auto-Illustrator questions the implied perceptions in ordinary software of the user as the active artist/author and of the software itself as a passive tool. In digital art, specific software and software-hardware combinations play an enormous role–imagine digital photography without Photoshop, electronic music without Steinberg’s Cubase or the products of Roland, hyperfiction without Eastgate’s Storyspace, or multimedia without Hypercard, Director, or Flash. This software conceptualizes the user and the material with which users work.[32]

     

    Auto-Illustrator challenges the traditional conceptualizations of user, object, and software. The user is normally conceptualized as active and in control, but could just as well–and perhaps often more in line with the actual truth–be conceptualized as reactive and partly controlled, as in many computer games, where the interface is more opaque and difficult to control. The material with which the user works is most often metaphorized as something well-known and relatively stable–for instance, paper, a photograph, a canvas–but could also be more dynamic, algorithmic, cybernetic, and emergent, as in Auto-Illustrator or browser art such as The Web Stalker or Feed. And, finally, the software, which often stages itself as passive, supportive, and neutral, could instead be active, interfering, and creative. This may be what qualifies Auto-Illustrator as an artwork.

     

    In the “preferences” palette, one can find the very button that best expresses the intention of Auto-Illustrator. The “preferences” palette is perhaps the most sacred place on the interface (apart from the “deep level” of code which is “behind” the interface and thus normally not visible). Through the “preferences,” “settings,” or “control panels,” it is possible to manipulate the very staging of the interface–its colors, language, interaction menus, file handling, warning messages, and so on. It is here that one is allowed to personalize the software and change passwords, here that the author or producers of the software to some extent make the staging of the interface explicit. The preferences section is a small peephole into the backstage area, but it is also where the relations between author, software, and user are defined, though of course within strict limits. It is not possible to change everything, and often one cannot find the setting that controls an annoying feature one wants to change.

     

    In Auto-Illustrator, apart from actually choosing “annoying mode” or choosing to “mess up palettes” in the “interface” section of the “preferences” palette, it is possible to enter the “psychosis” section, where the “Important–Don’t push this button” button is located. Here Auto-Illustrator addresses the very ontology of software interfaces. By choosing “Psychosis” the user is already well out of line, and, in fact, the “Don’t push this button” button highlights the normally repressed schism between the functional-instrumental and the mediated in Nake’s definition. What is often a repression of the representational and mediated nature in traditional software interfaces is turned into an expressive psychosis here.

     

    Figure 5: Preferences Palette in Signwave Auto-Illustrator
    Image used with permission of Adrian Ward, <www.auto-illustrator.com>.

     

    Focusing on this button helps clarify the schism of the instrumental medium. A button indicates a functional control, by means of which something well defined and predictable will happen; the fact that it is often rendered in 3D simulates a physical, mechanical cause-and-effect relationship. Of course, we know that the button is in fact a symbolic representation and as such a mediation of a functional expression, but we nevertheless see and interpret it as something that triggers a function. It is a software simulation of a function, but normally this simulation does not point toward its representational character, but acts as if the function were natural or mechanical in a straight cause-and-effect relation. Yet it is anything but this: it is conventional, coded, arbitrary, and representational, and as such also related to the cultural. As manufacturers of technological consumer goods from cars and hi-fi equipment to computer hardware and software know, buttons have aesthetic qualities and respond to a desire to push them. This could be a desire for control, but perhaps it is also and primarily a tactical desire. Buttons and knobs are supposed to feel good–one can even read car reviews that criticize the buttons and controls of cars for their cheap “plastic” feel. In Auto-Illustrator this button’s desire to be pushed is paradoxically heightened and pinpointed by the text “Don’t push this button.” One could say that by its apparent denial of functional purpose the button tempts our desire for the functional experience of tactical control and mastery–a strong ingredient in the aesthetics of the interface, even when denied.

     

    When the button is pushed, functional realism is cancelled and the interface is itself turned into something that resembles an opaque net.artwork. Text in palettes is turned into gibberish code, windows are moving and sounds are beeping, and the clear distinction between the data and the program, which is necessary in order to sustain the illusion of functional software, is cancelled.[33] This button delineates a borderline between the functional interface and modernist representational aesthetics. Here a new critical, functional art arises within the instrumental medium of the computer–not as an optimistic compromise but as a rupture between two clashing modes: the representational mode of art and the functional interface. When pushed, the rupture is radicalized, the schism is turned into sheer psychosis, the functional into pure art. Consequently, one should not push this button, because it destroys the delicate balance between the functional and the representational in Auto-Illustrator, between seeing its interface as a tool and as a “pure” representational art form.[34]

     

    What are the aesthetical, cultural, and ideological ramifications of functional aesthetics? How does it influence our experience and perception, and what does it do to the arts?[35] The very object of the artwork is once again questioned by such artistic experiments. How does the artwork actually work in a political and cultural economy? The myth of the autonomous work of art is increasingly difficult to sustain–a fact which also makes digital art, net.art and software art somewhat difficult to discuss and sell, though Auto-Illustrator has chosen to use the contested model of proprietary software, and sells licenses to the software.[36] Functional realism as demonstrated by Auto-Illustrator critically highlights central issues in the GUI and in the computer as an instrumental medium. It is about functional changes in the media, aesthetics, and the arts–and about changes in the very concept of functionality itself.

     

    The Realisms of the Interface

     

    I have maintained that the interface should be regarded as a cultural and aesthetic form with its own art–digital art that goes under the names of net.art, software art, computer games–but I could have included electronic literature that deals with relations between the code and the interface or between the work, the text and the network. A good example of the former is <www.0100101110101101.org>, of the latter Christophe Bruno’s <www.iterature.com>. In addition, questions about cultural aspects of the interface are also raised in contemporary techno-culture and techno music, notably in genres like laptop music. For example, the musician Markus Popp argues that we should understand music as software, in terms of the software processes used to produce it (Popp).

     

    Furthermore, I have discussed contemporary realism, since realism is important to the industry, HCI research, and broad cultural conceptions of the computer. I have pointed out that there is more than one realism, that realism is not only naïve illusionism, nor can it be reduced to What You See Is What You Get. As I have argued, one actually sees different things through these different perspectives, although they are clearly related and cannot be fully isolated. Furthermore, my three categories of realism aim beyond the safe borders of the autonomous artwork: illusionistic realism aims beyond pure representation toward immersive simulation, media realism beyond the visual surface toward the imperceptible and unreadable code, and functional realism beyond the artwork as self-contained and disinterested toward a functional aesthetics of the instrumental medium.

     

    Realism is ultimately about seeing and reaching reality–a reality that is not something alien “out there” but that consists of media and to a certain extent is constructed with the use of media. This construction of reality through media is both conceptual, as when media functions as models of understanding reality, and directly physical, as when media becomes embedded in the infrastructure of postmodern reality.[37] In its most stringent form, realism puts the very concepts of art and the real at risk simultaneously, so it is encouraging that some of the heated discussions of computer games, net.art and software art have concerned how–or if–one should look at this as art. What are the boundaries of net.art and software art? This discussion has been given impetus by the awarding in 1999 of the Ars Electronica’s Golden Nica prize to the open source operating system Linux in the category of net.art.[38] But when dealing with the interface from a realistic perspective, perhaps the most pressing questions are where the interface is, what it looks like, and how and what it makes us see. Is the interface a moving target we are hunting down in dark corridors of first-person shooters? Is it the opaque digital materiality of Jodi’s game modifications? Or is it hidden in the playful interaction of Auto-Illustrator?

     

    Part of the answer is that the interface is a continually developing forms for functional and artistic practices, a moving target artists will keep following and exploring, just as artists have explored the canvas or writers the codex. The materiality of the interface is gradually being rendered visible, readable, audible, navigable, and so forth. Interface aesthetics contributes most to the development of the interface by making sure that it does not become “invisible,” transparent, “subservient to the task,” as Don Norman claimed in 1990, that it does “get in the way” and is explored as a form, a language, an aesthetics. Interfaces are made for interaction and thus keep adjusting to accommodate actual users and uses. For this reason we can never fully grasp the interface as a form, but are compelled to pursue its various and ever-changing appearances.

     

    Notes

     

    This article is the product of discussions and research carried out with Lars Kiel Bertelsen and Olav W. Bertelsen and has benefited from discussions at the occasions where it has been presented. Stacey M. Cozart has helped with linguistic corrections. Thanks also for extremely valuable comments and corrections from reviewers at PMC, which have helped improve this article.

     

    1. In visual arts, questions concerning the art institution and its connections to museology are important, while from a literary perspective questions concerning writing versus code and the functions of authors and readers are important. For the museology perspective, see Dietz. For the literary perspective, see Cramer, “Free Software as Collaborative Text” and “Software Art.” I have explored the literary perspective in several Danish articles and in “Writing the Scripted Spaces.” Within the field of computer games, heated discussions have arisen around the relevance of a narratological approach versus an emerging ludological approach to computer games, the latter aiming at establishing the computer game as an art form of its own.

     

    2. There are many combinations of analogue and digital techniques, where parts of the work–its production, storage, distribution, and modes of reception–still take analogue forms, even though other parts are digitized. Furthermore, and perhaps more importantly, differences exist between the ways digital techniques have influenced the ontology and cultural economy of artworks, even within a particular art form. Consider for example the differences between commercial pop/rock and techno music: the digital has only slowly led to substantial changes in most mainstream musical forms, whereas in techno and dj-culture the very ontology of the musical work has changed.

     

    3. The development of hypertext and hypermedia should be mentioned, notably the work of Vannevar Bush and Ted Nelson. See Wardrip-Fruin and Montfort, which collects many of the key historical texts.

     

    4. Madsen has used this quotation in her interesting attempt to consider the interface as an art form.

     

    5. See, for instance, Laurel.

     

    6. See, for instance, Macintosh Human Interface Guidelines, chapter 1, on Direct Manipulation, WYSIWYG and metaphors; a new version for Aqua can be found at <http://developer.apple.com/techpubs/macosx/Essentials/AquaHIGuidelines/>. See also Schneidermann, 485-498, in Wardrip-Fruin and Montfort.

     

    7. See e.g. Bertelsen and Pold.

     

    8. A current example is Switch 18, “Interface: Software as Cultural Production”; see <http://switch.sjsu.edu/nextswitch/switch_engine/front/front.php?cat=44>.

     

    9. Latour and Hermant theorize and document how modern urban reality becomes increasingly invisible, though it is continuously visualized.

     

    10. See, for instance, “Panoramic Realism,” my article on the realism of Honoré de Balzac. Johnson compares the interface as a cognitive map to “the great metropolitan narratives of the nineteenth-century novel,” though he mainly compares it with Dickens (18).

     

    11. Cf. both Manovich and Elkins.

     

    12. Johnson is referring to the interface as a postmodern media form which inherits characteristics such as intertextuality, eclecticism, and fragmentation, but the interface is also variously opposed to general notions of the postmodern. At least it suggests a strong technological, functional, and instrumental dimension of the general postmodern culture. Still, it is interesting to re-read one of the defining articles of the postmodern, Fredric Jameson’s “Postmodernism, or, the Cultural Logic of Late Capitalism,” in light of the interface. Jameson hesitatingly illustrates the postmodern by “the distorting and fragmenting reflexions of one enormous glass surface to the other” with explicit reference to the dominant role of computers and reproduction in postmodernity (79). The year Jameson published his article (1984), Apple released its first Mac OS. Perhaps this “convergence of contemporary critical theory and technology”–to repeat the subtitle of George P. Landow’s Hypertext–offers the possibility to update and reconfigure our notions of the postmodern.

     

    13. The dichotomy of immediacy and hypermediacy was set up and developed by Bolter and Grusin (1999). See 78-84 for a summary of the criticism of linear perspective in the tradition deriving from Panofsky.

     

    14. Max Payne was a huge success for the game development company Remedy, based in Espoo, Finland. A sequel, Max Payne 2: The Fall of Max Payne, was released in 2003.

     

    15. On tactical and strategic ways of being in space, see de Certeau, especially XLIV ff. and 139 ff.

     

    16. See, for instance, Aarseth, Juul, and Ryan. Aarseth and Juul are leading opponents of the general academic trend of discussing games as narratives. Instead they emphasize the ludic ontology of games, pointing to the importance of game-play, choice, and ergodics and quests. While they have a point in criticizing narrative hegemony as it is carried out, for instance, in the ideal of “interactive fiction/story” and in many narratological game analyses, Ryan articulates a more balanced (though also critical) version of narrative traits in digital media.

     

    17. The game is explicit about this construction. The internal first-person narrator, Max Payne, states that “this is how it ended,” and later says that “to make any kind of sense of it I need to go back three years . . . Back to when the pain started.”

     

    18. This is especially explicit in Chandler’s The Little Sister.

     

    19. In addition, the game interface itself remediates other media to a large extent, and it is thus a perfect example of Manovich’s cultural interface category (62-115)–the plot is largely told through a photo realistic graphic novel complete with frames and text bubbles. The game play is, as in many other computer games, interrupted by cinematic sequences using montage and spectacular camera movements, but the game play is itself inherently cinematic in nature. Basically one sees the scenery through a camera behind and above the avatar, but there are also cinematic effects that can be enabled by the player. In particular, the “bullet-time” and “shoot-dodging” slow-motion effects are important for the player’s tactics.

     

    20. An exhibition complete with a printed catalogue, in which Cramer argues that “if the contemporary art system were not fixated on displays–whether of opulent visuals or of political correctness–and on material objects to be sold, Jodi might be recognized as the most important artists of our time” (Baumgärtel and Büro).

     

    21. See, for example, the net.artworks at <http://404.jodi.org> and <http://oss.jodi.org>, especially the executable files that can be downloaded.

     

    22. Sod is a modification of Wolfenstein 3D; it is available from <http://sod.jodi.org>.

     

    23. On the culture of making new levels of and versions or modifications to an original game engine, see Trippi and Huhtamo.

     

    24. It is not entirely new to claim a connection between representation and outward action in realism and realistic theories such as speech-act theory and some aspects of dialectic materialism and so on.

     

    25. Heidegger distinguished between objects that are “ready to hand” and “present at hand,” the former functioning seamlessly as tools (like a hammer) withdrawn into the activities in which one is engaged–a distinction that has played an important role in HCI through Winograd and Flores’s introduction in 1986 (cf. Dourish).

     

    26. The “Software” exhibition is documented with a reprint of the original catalogue in Wardrip-Fruin and Montfort, 247-257.

     

    27. Cramer follows Henry Flynt in arguing that “concept art is a kind of art of which the material is language,” and consequently that “software can be seen and read as literature.”

     

    28. The Web Stalker can be downloaded from <http://bak.spc.org/iod/>. Other examples of browser artworks are Mark Napier’s Feed, Riot and Shredder (<http://potatoland.org/>), and Maciej Wisniewski’s Netomat (<http://www.netomat.net/>).

     

    29. Auto-Illustrator won the Transmediale 2001 price for Artistic Software and received an honorary mention at Ars Electronica in 2001. At the time of writing, the current version is 1.2 (Windows).

     

    30. Filters work through plug-ins that can be written and installed independently by the user or by a third-party producer.

     

    31. See “About Auto-Illustrator” in the documentation that comes with Auto-Illustrator 1.2. For example, in Adobe Photoshop there are filters that more or less automatically create painterly effects or glass mosaics from a given image. Auto-Illustrator also demonstratively criticizes the pointlessness of many of the automated effects. A good example is the mocking “stupid and pointless” filter in Auto-Illustrator, which in fact does nothing at all and takes a long time doing it.

     

    32. See Albert, who discusses the author function in Auto-Illustrator. He also discusses the way traditional net.art interposes between media producers and media consumers, while software art interposes between software producers and media producers, thus higher up in the chain of production: “the most influential position is clearly that of the software programmer, and the most obvious point for intervention is there, between the software producer and the media producer.”

     

    33. Other net.artworks that reflect this aesthetic include works by Jodi, especially the OSS series of software that can be downloaded from <oss.jodi.org>.

     

    34. See also Albert’s re-phrasing of Mathew Fuller’s “not-just-art” concept, a concept Fuller developed for I/O/D’s Web Stalker, and that Albert argues is more fitting to Auto-Illustrator. Fuller writes about Web Stalker as not-just-art in the sense that “it can only come into occurrence by being not just itself. It has to be used” (43).

     

    35. When my five-year-old son sees an image on a computer screen he clicks on it like a maniac in order to enter or execute it. By default he sees digital images as interfaces with hidden links and functionality in addition to seeing them as representations.

     

    36. Even here it uses the medium of consumer-based application software, as Ward has pointed out, and not a radical alternative such as the open source model, though parts of Auto-Illustrator such as the plug-ins are in fact quite open and invite co-authorship.

     

    37. Embedded computers and media are currently discussed within the research fields of pervasive computing, augmented reality, mobile handheld devices, etc. However, our urban environment is not media saturated exclusively because of future technologies. See e.g. Latour and Hermant.

     

    38. Among others, the net.artist and software art curator Alexei Shulgin has argued against seeing Linux as art, claiming that it is functional software while net.art is non-functional, an argument Cramer rightly rejects as “late-romanticist” in “Free Software as Collaborative Text.” See also the discussion on the Nettime Mailing Lists after the prize was awarded under the thread “Linux wins Prix Ars due to MICROSOFT INTERVENTION.” The pressing question seems to be whether art can embrace the functional dimensions of software or whether art has to be dysfunctional in order to maintain a critical distance.

     

    Works Cited

     

    • Aarseth, Espen. “Beyond the Frontier: Quest Games as Post-Narrative Discourse.” Narrative Across Media. Ed. Marie-Laure Ryan. Lincoln: U of Nebraska P, 2004.
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    • Huhtamo, Erkki. “Game Patch–The Son of Scratch.” Switch 12 (July 1999). <http://switch.sjsu.edu/nextswitch/switch_engine/front/front.php?artc=119>.
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    • Juul, Jesper. “Games Telling Stories? A Brief Note on Games and Narratives.” Game Studies 1.1 (July 2001) <http://www.gamestudies.org/0101/juul-gts/>.
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    • “Linux Wins Prix Ars due to MICROSOFT INTERVENTION.” Online discussion. 6 Sep. 1999. Nettime Mailing Lists. <http://amsterdam.nettime.org/Lists-Archives/nettime-l-9909/msg00038.html>.
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    • Nake, Frieder. “Der Computer als Automat, Werkzeug und Medium und unser Verhältnis zu ihm.” Menschenbild und Computer. Selbstverständnis und Selbstbehauptung des Menschen im Zeitalter der Rechner. H. Buddemeier (Hrsg.) Bremen: Universität Bremen, Medienkritische Reihe 3, 2000. 73-90.
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    • —. “Writing the Scripted Spaces–Understanding Writing In A Digital Context.” Unpublished essay, 1998. <http://imv.au.dk/~pold/publikat/scripted.pdf>.
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    • Wardrip-Fruin, Noah, and Nick Montfort, eds. The New Media Reader. Cambridge: MIT P, 2003.

     

  • Being Jacques Derrida

     

    Mario Ortiz-Robles

    Department of English
    University of Wisconsin, Madison
    mortizRobles@wisc.edu

     

     

    Review of: Jacques Derrida, Without Alibi. Ed. and trans. Peggy Kamuf. Stanford: Stanford UP, 2002.

     

    Without Alibi, a collection of five essays written by Jacques Derrida in response to various provocations both in France and in the United States, is not without its own alibis. It is, first of all, a book that came into being at the suggestion of Peggy Kamuf, one of Derrida’s most reliable American translators, and, in this case, also his editor, compiler, and virtual collaborator. As Derrida tells us in his foreword–or alibi of a foreword, sandwiched as it is between the editor’s preface and the translator’s introduction–the book is “more and other than a translation” since it is “countersigned” by Kamuf. In her own telling, the collection seeks to trace the “movement of response and engagement” that characterizes the reception of Derrida’s work in the United States and his own critical reaction to that reception. Kamuf’s collection is, in this sense, Derrida’s American alibi, or “elsewhere” (“alibi” in Latin), an apt description of the act of translation and a compelling prescription for an ethics of authorship, or of countersignature as performance, that the book can be said to be enacting. It is in this regard tempting to group Without Alibi together with other collaborative works Derrida published late in his life. I am thinking here of the very different and very differently conceptualized collaborations he performed with a number of French women, Elizabeth Rudinesco (For What Tomorrow…), Catherine Malabou (Counterpath), Hélène Cixous (Veils and Portrait of Jacques Derrida as a Young Jewish Saint), and Anne Dufourmantelle (Of Hospitality).

     

    Unlike these books, Without Alibi is a peculiarly American product, and not only because it is, as Derrida puts it, a “native” of “America,” referring no doubt to the fact that the book was published in America by an American university press without, as it were, a French alibi. Indeed, there is no “French original” to this book, even if all five essays were written in French and four were delivered, in French, as lectures before audiences in both France and the United States. The fifth, “‘Le Parjure,’ Perhaps: Storytelling and Lying,” which was the only piece originally destined for publication, was written for a volume commemorating the work of his “friend and eminent colleague” J. Hillis Miller. Two of the lectures (both of which have appeared in print elsewhere) were also delivered with a specifically American alibi: “Typewritter Ribbon: Limited Ink (2)” was first read at a conference held in 1998 at the University of California, Davis, on Paul de Man’s posthumously published Aesthetic Theory, and “History of the Lie: Prolegomena” was presented at the New School for Social Research in New York as part of a series commemorating the work of Hannah Arendt. To use a designation elsewhere explored by Derrida, the book has thus been thoroughly “copyrighted” in America (and copyrighted, at least materially in this instance, by the trustees of Stanford University, which Kamuf calls a “great university” and which, incidentally perhaps–a professional alibi?–sponsored the conference at which Derrida delivered “The University Without Condition,” the only essay in Without Alibi not to have appeared in print before). America is thus, in this collection, one of the most persistent alibis for the labor of translation and editing and collaboration and even copyright Kamuf so ably performs. Being Jacques Derrida’s “elsewhere,” Kamuf does an admirable job of bringing together five texts that, in their different ways, trouble the conditions of production that have brought them together in the first place. And if, as Kamuf writes in the introduction, the “essential trait” shared by all five essays is the notion of sovereignty, then we can say that it is American insofar as, today, sovereignty can be given the name “America” even as it actively, and without alibi, claims it as its own copyright.

     

    The book is peculiarly American for another reason. Its “essential trait” may well be a different sort of collaboration or about a different sort of copyright. Derrida’s complex, often critical, at times openly hostile, and ultimately fruitful collaboration with the work of J.L. Austin (particularly How to Do Things with Words, the lectures Austin delivered at Harvard), and speech act theory more generally, becomes a compelling alibi for the choice of essays in this collection. I may be seen to be using the term “collaboration” somewhat loosely here: Derrida’s critique of Austin, whose performativity as an intervention is too often allowed to go unnoticed, could hardly be said to entail a working together, or co-labor. In addition, the far from collaborative, and, indeed, belabored, debate that took place in the 1970s between Derrida and John R. Searle, who seemingly took upon himself the task of responding for and in the name of Austin to Derrida’s initial critique, revolved on one of its axes around the question of copyright and the incorporation of various collaborators, real or virtual, into a single legal identity, a “Limited Inc,” as it were. Yet, as the essays in Without Alibi demonstrate with their citational and iterative use of performativity, the term “collaboration” can be understood in the active sense of “working with” others, a joint intellectual labor that, to use Austin’s catchy phrase, does things with words. In the spirit of Derrida’s treatment of ethics and responsibility in his later work, this co-labor may be said to entail an engagement with or response to the call of the other as the horizon of performative force. The word “collaboration,” of course, trembles under the weight of its political history and, especially, of that of Paul de Man’s wartime writings, an act that remains categorically “without alibi,” no matter what revanchist purposes they have served his detractors. Derrida’s patient, arduous, and no doubt painful response to de Man’s wartime writings–one of whose moments or occasions is the essay “‘Le Parjure,’ Perhaps: Storytelling and Lying” that appears in this volume–is, at least in part, articulated by his understanding of what it is to do things with words: a co-labor responsive to the other’s call. Indeed, de Man’s own reading of Austin–a reading to which Derrida returns in “Typewriter Ribbon: Limited Ink (2)”–has so many points of contact with Derrida’s reading that one can only imagine it as a collaborative effort, an act of interlocution that was in no small measure responsible for initiating or inaugurating what came to be “deconstruction” in America. Derrida’s long-standing engagement with the United States critical scene and with the reception of his work by the American academy can in this same sense be profitably thought of as a collaborative critique of performativity.

     

    It is this general critique of performativity, I want to suggest, that makes the Kamuf/Derrida collaboration in Without Alibi particularly valuable at a time of increased resistance to theory and perhaps to non-coercive forms of collaboration. At one level, many of the topics or themes Derrida pursues in his essays pertain to explicit performative speech acts of the sort Austin isolated, such as lying, promising, making excuses, professing, confessing, and producing alibis of all sorts, and, at another, many of the concepts Derrida treats, such as the signature, responsibility, the event, citizenship, the death penalty, and mondialisation, are formulated from within his critique of Austin. At yet another level–and this is where collaboration nears performative efficacy–the collection itself encapsulates the history of Derrida’s engagement with the United States critical scene, a history that, in Kamuf’s selection at least, is linked to a general critique of the performative. Two of the essays in Without Alibi, for instance, look back upon the work of some of Derrida’s most important collaborators (as in co-workers or sometime colleagues) in the United States (whether American or not): “‘Le Parjure,’ Perhaps: Storytelling and Lying” is written for a collection of essays for J. Hillis Miller, but deals with a fictional account (Henri Thomas’s novel Le Parjure) of what may be read as Paul de Man’s life before arriving in the United States; “Typewritter Ribbon: Limited Ink (2)” traces some of the most salient motifs of de Man’s reading of Rousseau’s Confessions as an occasion to revisit Derrida’s reading of Austin and Searle’s critique of this reading as it appeared originally in “Limited Inc a b c.”

     

    All five essays, in fact, perform or enact this critique, such that, more than the “essential trait” of the collection, one could say that performativity is its “alibi” since performativity, in Derrida, never really achieves the systematicity of a method nor even the thematic density of a concept metaphor. A discursive modality that categorically resists allegorization, the performative precipitates, prompts, and provokes narrative effects through discrete acts of speech but never itself becomes a central organizing principle. In her illuminating introduction, “Event of Resistance,” Kamuf characterizes Derrida’s return to Austin in the essays as a response to the tendency (perhaps especially, but not exclusively, evident in the United States) of taking “performativity” to be a transformative empowerment. Precisely because these cultural theories of performativity rely on the conventionality of speech acts to create the appearance of social inevitability, Derrida asks us to reconsider and resist the all-too-neatly reflexive notion that the performative produces the event of which it speaks. As he writes in “The University Without Condition”: “where there is the performative, an event worthy of the name cannot arrive” (234).

     

    As these examples illustrate, Without Alibi forcefully reminds us why Derrida was initially drawn to Austin’s formulation of the performative and why he found the various attempts at formalizing the latter’s discovery highly problematic. First of all, insofar as Austin’s isolation of the performative was the formalization of an always already existing force of language that, while operative, had never been named, we can consider the confusion between constative and performative utterances (that is, between statements that can be said to be true or false and locutions that actually do something by being uttered) as a particularly significant instance of the sort of ideological obfuscation Derrida termed “logocentrism” and whose critique–call the necessary course it took “deconstruction”–was in itself as “great” an “event” as he claims Austin’s discovery of the performative to have been. For Derrida, Austin’s formulation of the performative shatters the traditional concept of communication since the performative is found to be, as act, a nonreferential force of language that categorically resists the notion of speech as the transference of a given semantic content oriented towards truth. And it is precisely the nonreferential aspect of performative speech acts that was initially of most interest to Derrida and can even be said to have set the conditions of the possibility of his critique of Austin since it is the latter’s failure to take account of the general applicability of his own discovery that destabilizes the oppositions he wishes to formulate (constative vs. performative; parasitic vs. non-parasitic uses of language; happy vs. unhappy performatives; etc.).

     

    The political and intellectual stakes of Derrida’s critique of performativity are certainly very high. In the “History of the Lie: Prolegomena,” for instance, he speaks of the “performative violence” of state law:

     

    When performatives succeed, they produce a truth whose power sometimes imposes itself forever: the location of a boundary, the installation of a state are always acts of performative violence that, if the conditions of the international community permit it, create the law . . . . In creating the law, this performative violence--which is neither legal nor illegal--creates what is then held to be legal truth, the dominant and juridically incontestable public truth. (51)

     

    The very real events that performative speech acts can and do effect within institutional frameworks rely for their efficacy on a particular misreading or, in a vocabulary Derrida seldom has any use for, ideology, both in the sense that the performative is often confused with the constative (insofar as an act is read as a true or false statement) and in the sense that it is naturalized as an evident or obvious fact with no history of its own. For Derrida, it is not enough to identify the force of the performative and formalize its features (a task, in any case, undertaken with admirable clarity by Austin himself). One must also be alert to the instability of the performative/constative distinction and be ready to live with the constant oscillation between the two as the condition of possibility of responsible action.

     

    In “Psychoanalysis Searches the States of Its Soul: The Impossible Beyond of a Sovereign Culture,” the last essay in Without Alibi, Derrida explores this oscillation within the institutional confines of psychoanalysis, proposing nothing less than a new revolution in psychoanalytic reason in the spirit of a States General of Psychoanalysis. Of the three states or orders he isolates, it is the performative to which he ascribes the role of “inventing and reinventing” the institutional, normative, procedural “laws” of psychoanalysis in contradistinction to the theoretical or descriptive order of knowledge we associate with the constative. But it is only when psychoanalysis begins to contemplate the impossible coming of an event worthy of its name that the distinction falls apart and, in the face of unpredictable alterity, the orders of power (constative) and of the possible (performative) are “put to rout.” In practical, should we say academic, terms, the stakes of this form of deconstructive practice are also taken into account, not least because the “event” of Austin’s originary formulation is, as Derrida reminds us, an “academic event” in the first place. Thus, in the sixth of the seven theses or “professions of faith” with which Derrida concludes “The University Without Conditions” (in a manner, one need perhaps not add, that is itself performative), he has this to say concerning the humanities of tomorrow: “It will surely be necessary, even if things have already begun here or there, to study the history and the limits of such a decisive distinction [between performative acts and constative acts] . . . This deconstructive work would not concern only the original and brilliant oeuvre of Austin but also his rich and fascinating inheritance, over the last half-century, in particular in the Humanities” (233).

     

    Without Alibi has the great merit of exposing us to a significant part of that inheritance through Derrida’s specific engagements with Austin and through the rich history of what I have called these essays’ “collaboration.” Derrida’s reading of Austin and the many debates, commentaries, and countersignatures this reading has inspired over the years can, I think, be singled out as one of the events that helped launch and entrench deconstruction in America. Its force as event might serve as a reminder or emblem of the stakes involved in conceptualizing the performative: it can revolutionize the intellectual landscape. To call Derrida’s critique of performativity “American” is then also to point towards a certain performative violence that, in the service of institutional truth or of legal expediency (read: copyright), has been done to the humanities, generally making them less hospitable to collaboration, countersignature, deconstruction–in short, to theory.

     

    It would therefore be naïve to characterize Peggy Kamuf’s countersignature in Without Alibi as a “performance” of Derrida or of deconstruction. Naïve because it is not a matter of choice or intention to utter certain speech acts, and, in so doing or saying, to transform ourselves into an “other.” We do not have that choice, since the performative/constative distinction turns out to be, more than a discursive modality, the very condition of possibility of language doing or saying anything at all. Being Jacques Derrida, one realizes after reading Without Alibi, is a far more difficult task than performing a critical role (that would be, perhaps, just an alibi for responsibility); it is an impossibly collaborative event towards which Kamuf bravely makes the leap as though to salute a stranger who only gets stranger with each subsequent exposure.

     

  • Saint Paul: Friend of Derrida?

    Robert Oventile

    English Division
    Pasadena City College
    rsoventile@pasadena.edu

     

    Review of: Jennings, Theodore W., Jr. Reading Derrida/Thinking Paul: On Justice.Stanford: Stanford UP, 2005.

     

    Contemporary intellectuals interested in progressive and even militantly leftist possibilities within religious thought have turned increasingly to the letters of Saint Paul. Should one concede Paul–himself a notable casualty of Empire–to the Right, whether it take the form of theocratic boosters of a global Pax Americana or any other? Paul’s letters have thus become a crucial site for a political renegotiation of religion that has opened new paths of inquiry for thinkers such as Giorgio Agamben, Alain Badiou, and Slavoj Žižek. All three have engaged with Paul in order to reformulate and to extend abiding political and theoretical concerns. Agamben argues that Walter Benjamin’s allusions to Paul’s letters signal a vital relation between Benjamin’s and Paul’s respective understandings of messianic time: a Benjaminian Paul becomes newly readable as addressing how one lives life in the state of exception. For Badiou, Paul emerges as “a poet-thinker of the event” (2). Paul’s uncompromising fidelity to the “Christ-event” and his articulation of the “discourse of truth” that the event underwrites makes Paul the template “for a new militant figure” (23, 6, 2). And, in league with Badiou, Žižek finds in Paul “an engaged position of struggle, an uncanny ‘interpellation’ beyond ideological interpellation” that cuts through liberal multiculturalism, pragmatic reformism, and desire stalled in transgression to allow for a “community (or, rather, collective) of believers” that is “held together not by a Master Signifier, but by fidelity to a Cause” (112, 138, 130).

     

    Equally important to this turn to religion is Jacques Derrida’s Specters of Marx, a text that worked to reassess Marx’s judgment of religious belief as ideology, and that has thus played an important role in the “return” of some on the academic left to religion. Indeed, over the last decade and a half, Derrida has intensively queried religion and religious texts, arguing that any renewed left project must come to terms with both the messianic promise implicit in Marx and the autoimmune complications of the messianic in the Judaic, Christian, and Islamic traditions. Yet, unlike Agamben, Badiou, and Žižek, Derrida refrains from offering either an explicit re-evaluation of Paul’s letters or an endorsement of a “left” Paul. On the contrary, Derrida directly aligns Paul’s discourse on veiling and unveiling with the history of “truth as onto-logical revelation” that Derrida works to transcend (“Silkworm” 83). Given Derrida’s relative reserve on the subject, is a rapprochement between Paul and Derrida conceivable? Are there Pauline aspects to Derrida’s texts and deconstructive logistics available in Paul’s letters? Should we add Derrida to the growing list of thinkers for whom Paul is a political friend?

     

    Theodore W. Jennings’s Reading Derrida/Thinking Paul: On Justice works to answer just such questions. Jennings wants to show how Derrida’s writings can illuminate Paul’s Letter to the Romans and, more specifically, the apostle’s various claims about justice. Jennings argues that Derrida and Paul resonate intriguingly with one another because both share a passion for justice and for thinking through the various aporias that the pursuit of justice entails. Jennings’s chapters juxtapose Paul and Derrida on law, violence, gift, faith, hospitality, and pardon in order to make sense of that resonance.

     

    Jennings convincingly elaborates a number of striking parallels between Paul and Derrida. For instance, Jennings argues that Derrida’s claims in “The Force of Law” about the ways in which justice necessarily exceeds law give us a new way to understand Paul’s distinction in Romans between law and justice. For Derrida, justice exceeds law as law’s condition of (im)possibility; Jennings reads Paul as relating law to justice in a similar manner. This reading brings Paul much closer to Derrida’s focus on justice as a crucially political question.

     

    The English-language tradition of theological commentary on Romans tends to understand Paul as concerned with a personal, moral uprightness as opposed to politics as such. To loosen this tradition’s hold, Jennings argues that while the terms in Romans that stem from the Greek root dik– (dikaios, dikaiosune, dikaioo, dikaioma, dikaiosis, etc.) tend to appear in English as words related to the idea “righteousness,” these terms are better translated as variations on the word “justice.” Take the following example from Romans: “Do not put your members at sin’s disposal as weapons of wickedness [adikias], but . . . offer your members to God as weapons of uprightness [dikaiosunes]” (Romans 6:13). The translation of adikias as “wickedness” and of dikaiosunes as “uprightness” (or as “righteousness” [NRSV]) obscures what Jennings identifies as Paul’s emphasis on an opposition between justice (dikaiosunes) and injustice (adikias). Jennings thus retrieves Paul as a specifically political thinker who, in writing on the relation between justice and injustice, offers an account of political life under empire.

     

    This retrieval continues with Jennings’s claim that in Romans Paul addresses both Mosaic Law and Roman law as complexly related to and yet finally distinct from the event of justice. The Paul obsessed with beating down the Mosaic Law (Torah) might, in other words, be a caricature bequeathed to us by such theologians as Martin Luther, who depicts Paul as having “a contempt for the Law of Moses” and as elaborating a violent theological devaluation of the Law as starkly opposed to Christian grace (241). Luther’s Paul ominously declares, “the Law must be crucified,” foreshadowing Luther’s Against the Jews and Their Lies, in which Luther recommends that Christians burn synagogues and forbid rabbis, “under threat of death,” from teaching (245; qtd. in Hall 45). Contra Luther, Jennings finds a more subtle Paul who works instead to define grace as the law’s supplement: without grace, law cannot realize justice. Like Derrida, Paul interrogates the relation of justice to law in general, however much Paul’s letters focus on the commandments Moses brought down from Sinai. For Paul as well as for Derrida, law executes justice. Justice only has a chance if law exists (justice’s occurrence depends on institutions of law acting upon demands for justice); yet law inevitably falls short of and even thwarts justice. On the one hand, law only exists as law in reference to justice; on the other hand, law becomes unjust when it is thought of as a closed system immune to the demands of justice.

     

    Jennings reads Jesus’s crucifixion as an instance of the law executing justice. Though both can legitimately claim to carry out justice, Roman law and Mosaic Law each had a hand in the execution of the one who for Paul embodied divine justice. Thus, neither Mosaic Law nor Roman law can be a perfectly adequate vehicle for divine justice. Law’s death-dealing limits emerge from its very effort to bring about the justice that law inevitably betrays in practice. The hope for justice at once provokes law into action and exposes law as unjust. Here Jennings shows another point at which Paul and Derrida overlap. For Derrida, justice is the undeconstructible source of the law’s deconstruction, so that “Deconstruction is justice. . . . Deconstruction takes place in the interval that separates the undeconstructibility of justice from the deconstructibility of law” (“Force” 243). In this interval, Paul takes his seemingly ambivalent stance towards law. The impression of ambivalence recedes when, thanks to Jennings, we see that Paul, desiring justice, can neither simply embrace nor simply reject the law.

     

    Jennings argues in related terms that deconstruction neither finishes law off nor brings forward a new law. Rather, deconstruction returns one to the realization that no effort one makes to pursue justice by acting on or reforming existing law can result in a “good conscience.” To rest easy in the assumption that one has met one’s responsibilities to justice defines “good conscience.” In the interval between deconstructible law and undeconstructible justice, one undergoes the traumatic realization that any simply lawful action one takes will fail to satisfy the “demand for infinite justice” (“Force” 248). “Incalculable justice commands calculation,” but any legal calculation one makes to redress a transgression compromises justice (257). Given this aporia, the assertion of a “good conscience” becomes the alibi of those who collaborate in a violent erasure of the interval between law and justice. Jennings links Derrida’s rejection of “good conscience” to Paul’s impatience with “boasting”: “Where, then, is there room for boasting? It is ruled out! On what principle? On the principle of deeds? No, but on the principle of faith. For we maintain that a human being is justified by faith apart from deeds prescribed by the law” (Romans 3.27). Paul confronts antagonists who claim that their adherence to law proves their justness. But for Paul, such a claim is “boasting,” a self-interested forgetting of the irreducibility of divine justice to law. This forgetting leaves one open to accepting the violence institutions call lawful.

     

    Though the crucifixion exemplifies such lawful violence, any and every law emerges as crucifixional insofar as it sacrifices Pauline divine justice or Derridean infinite justice to the preservation of existing institutions. No “deed” or “work” of law, to use Paul’s terms, can escape crucifixionality because any “deed” or “work” only counts as such within existing legal institutions and thus necessarily reinforces those same legal institutions. The same will be true for any reformed institution of law. Paul insists that the only hope for untangling oneself from the crucifixional aspect of law is God’s free gift of grace. All “those who receive the abundance of God’s grace and his gift of justice” become just; they are “justified freely by his grace” (Romans 5:17, translation modified; Romans 3:24). For Paul, one becomes just not by one’s deeds but by the gift of grace, a gift one receives irrespective of any work of law one either does or does not perform. Grace alone allows one to fulfill the law and to achieve justice. The event of grace as gift both exceeds the economics of works and allows a work of law to arrive at justice. Since a demand for infinite justice motivates law, no work is sufficient to clear one’s debt to the law. Only in grace is one justified, so justice too is God’s gift. No action can pay for grace; one can only have faith that grace and thus justice will come.

     

    Paul’s notion of grace both foreshadows and finds clarification in Derrida’s writings about the gift. And, as Jennings points out, gift and justice are for Derrida intimately related concepts. Jennings cites Derrida’s statement that his analyses of “the gift beyond exchange and distribution . . . are also, through and through, at least oblique discourses on justice” (“Force” 235). Derrida’s writings on the gift allow one better to understand the paradoxical interaction in Romans between the aneconomic gift of grace/justice and the law, which is inseparable from the economics of works. Referring to Derrida’s work on the gift, Jennings argues that far from making justice superfluous, the Pauline gift of grace is that which allows justice to happen.

     

    Jennings thus helps us to understand that, for Paul and for Derrida, one cannot simply make justice happen. On the one hand, justice demands that one work to prepare the best terms for its arrival, but, on the other, when and if justice arrives, it arrives as a necessarily unprogrammable event. Jennings’s emphasis on justice as gift finds confirmation in one of Derrida’s last essays, “‘Justices,’” in which Derrida writes that, to be among the just is a “gift that one cannot acquire”: “The just one has a gift” (691). Preliminary to the arrival of the gift of justice is forgiveness. In Romans, the just have been forgiven, even for their participation in the crucifixional dynamic of the law. The gift of grace and thus justice arrive precisely in the forgiving of the unforgivable; again, Jennings’s point is that, like grace, forgiveness allows justice to happen. Derrida leads the way to this understanding of forgiveness or pardon in Paul when he argues that one can only meaningfully forgive the unforgivable. Any transgression or fault that could simply be redressed by paying a fine or undergoing a penalty does not require or solicit what Derrida calls “pure” or “unconditional” forgiveness. Only the utterly and frighteningly unforgivable can be forgiven.

     

    A book-length study of Derrida in relation to Paul is overdue, and Reading Derrida/Thinking Paul: On Justice offers readers of Derrida many new insights. Even so, Jennings leaves aside a number of difficult questions as to how and why Paul and Derrida might diverge in their thinking. At several points in Reading Derrida/Thinking Paul: On Justice, Jennings acknowledges that Paul and especially some of Paul’s theological exegetes (Luther, for example) bear responsibility for the grievous history of anti-Semitism, religiously excused colonial violence, sexism, and homophobia. Why does one not find an extensive chapter in Reading Derrida/Thinking Paul that grapples with this responsibility? Although Jennings indicates in his conclusion that he is preparing just such work, the avoidance of the question of Paul’s responsibility for injustice may find an explanation in the Derrida Jennings brings to Paul. Jennings emphasizes the Derrida of such texts as “The Force of Law: The ‘Mystical Foundation of Authority’,” Given Time: 1. Counterfeit Money, Of Hospitality, and On Cosmopolitanism and Forgiveness, rather than the Derrida of such texts as Speech and Phenomena and Of Grammatology. That is, Reading Derrida/Thinking Paul tends to avoid the Derrida whose deconstruction of the opposition between letter and spirit stems from his passion for justice. Rather than a solution or answer to justice’s aporias, this Derrida would arguably find urgently problematic Paul’s statement in Romans that “one is not a Jew outwardly only; nor is real circumcision external, in the flesh. Rather, one is a Jew in secret, and real circumcision is of the heart, a thing of the spirit, not of the letter” (2:28-29). Outside versus inside, tangible flesh versus intangible heart, letter versus spirit: such oppositions are at work when Paul claims that the believer, as “a letter of Christ,” is “written not with ink but with the Spirit of the living God, not on tablets of stone but on tablets of human hearts” (2 Corinthians 3.3). And these oppositions are crucial to Paul’s effort to distinguish the “new covenant” in Christ from the “ministry of death, chiseled in letters on stone tablets” (2 Corinthians 3.6, 3.7). The new covenant is “not of letter but of spirit; for the letter kills, but the Spirit gives life” (2 Corinthians 3.6). The Paul who allegorizes the Mosaic Law as a “ministry of death” is the Paul of whom Derrida can write that he is “this very mild, this terrible Paul [,] . . . whose monstrous progeny are our history and culture” (“Silkworm” 76).

    Works Cited

     

    • Agamben, Giorgio. The Time that Remains: A Commentary on the Letter to the Romans. Trans. Patricia Dailey. Stanford: Stanford UP, 2005.
    • Badiou, Alain. Saint Paul: The Foundation of Universalism. Trans. Ray Brassier. Stanford: Stanford UP, 2003.
    • Derrida, Jacques. “Force of Law: The ‘Mystical Foundation of Authority.’” Trans. Mary Quaintance. Acts of Religion. Ed. Gil Anidjar. New York: Routledge, 2002. 230-98.
    • —. “‘Justices.’” Critical Inquiry 31.3 (2005): 689-721.
    • —. “A Silkworm of One’s Own.” Trans. Geoffrey Bennington. Veils. Hélène Cixous and Jacques Derrida. Stanford: Stanford UP, 2001. 17-108.
    • Hall, Sidney G., III. Christian Anti-Semitism and Paul’s Theology. Minneapolis: Fortress, 1993.
    • Luther, Martin. “Death to the Law.” Trans. Jaroslav Pelikan. The Writings of St. Paul. Ed. Wayne A. Meeks. New York: Norton, 1972. 236-50.
    • The New Oxford Annotated Bible: New Revised Standard Version. Ed. Bruce M. Metzger and Ronald E. Murphy. New York: Oxford UP, 1994.
    • Romans. Trans. Joseph A. Fitzmyer. New York: Doubleday, 1993.
    • Žižek, Slavoj. The Puppet and the Dwarf: The Perverse Core of Christianity. Cambridge: MIT P, 2003.

     

  • A Time for Enlightenment

    Chad Wickman

    Department of English
    Kent State University
    cwickman@kent.edu

     

    Review of: Borradori, Giovanna. Philosophy in a Time of Terror: Dialogues with Jürgen Habermas and Jacques Derrida.Chicago: U of Chicago P, 2003.

     

    Giovanna Borradori’s Philosophy in a Time of Terror: Dialogues with Jürgen Habermas and Jacques Derrida stages an encounter between two philosophers whose respective bodies of work are as vast as they are vastly different from one another. For Borradori, however, Habermas and Derrida share a common bond–each has looked to the uses and the limits of Enlightenment philosophy for perspective on current global crises, particularly those related to 9/11. Borradori attempts to reveal this commonality by asking similar questions in her conversations with Habermas and Derrida. While there is no direct dialogue between Habermas and Derrida in the book, readers can nonetheless see how the two contend with each other and with contemporary issues ranging from global terrorism to international law. Philosophy in a Time of Terror invites readers to think about how philosophy can help us to understand 9/11 and the crises of which it is part.

     

    Although Habermas and Derrida have found ways to collaborate politically (both, for instance, participated in the publication of a May 2003 statement in the Frankfurter Allgemeine and La Liberation that called for a unification of European foreign policy as a response to U.S. hegemony in world affairs), that collaboration has taken place in spite of certain basic philosophical differences. One need look no further than Habermas’s critique of Derrida in The Philosophical Discourse of Modernity, or Derrida’s own familiar suspicions regarding the universalism and rationality to which Habermas subscribes. Part of Borradori’s task is in that case to account for a dispute that has long existed between Habermas and Derrida. In her introduction to the volume, she describes how Enlightenment ideals figure differently in Habermas’s and Derrida’s respective philosophies. If, as part of the tradition of the Frankfurt School, Habermas aims at an “improvement of the present human situation” dependent on a “belief in principles whose validity is universal because they hold across historical and cultural specificities,” that belief would seem to run up against Derrida’s distrust of the notion of the universal as that which can “impose a set of standards that benefit some and bring disadvantage to others, depending on context” (15-16). That Derrida also believes in a responsibility that “articulates the demand for universalism associated with the Enlightenment” suggests to Borradori that there are important points of overlap between the two philosophers (15-6). The connections Borradori makes between Habermas, Derrida, and the Enlightenment offer a refreshing perspective on a longstanding debate.

     

    It would, however, be wrong to see Philosophy in a Time of Terror as a treatise that seeks simply to unite these figures. While Borradori is interested in identifying continuities between Habermas and Derrida vis-à-vis the Enlightenment, she does so with another interest in mind: to demonstrate how philosophy can help make sense of global terrorism, 9/11, and the current state of international relations and international law:

     

    While for Habermas terrorism is the effect of the trauma of modernization, which has spread around the world at a pathological speed, Derrida sees terrorism as a symptom of a traumatic element intrinsic to modern experience, whose focus is always on the future, somewhat pathologically understood as promise, hope, and self-affirmation. Both are somber reflections on the legacy of the Enlightenment: the relentless search for a critical perspective that must start with self-examination. (22)

     

    Borradori thus gestures towards themes that readers can expect to find in the dialogues and reveals the critical perspective she would have readers adopt as they “walk along the same path” as Habermas and Derrida (48). Borradori clears this path for readers by including essays that situate each dialogue within the larger context of Habermas’s and Derrida’s work. Although the terms of these summaries will be familiar to the already initiated, they offer the uninitiated reader a chance to enter directly an ongoing dialogue between Habermas and Derrida. It is to Borradori’s credit that her book allows readers to see so clearly how Habermas and Derrida position themselves in relation to these pressing topics.

     

    The terms of Borradori’s questions reflect her broader aim of understanding how Habermas and Derrida situate 9/11 in a cultural, historical, and philosophical context. With her initial question, for instance, she asks each to explain the significance of 9/11 as an “event.” Habermas, for his part, offers an historical analogy, suggesting that 9/11 is similar to the outbreak of World War I in that it “signaled the end of a peaceful and, in retrospect, somewhat unsuspecting era” (26). He explains, however, that the attack on the World Trade Center was itself unprecedented because of “the symbolic force of the targets struck” (28). For Derrida, the way the attack has been named–“as a date and nothing more” (85)–signifies that “we perhaps have no concept and no meaning available to us to name in any other way this ‘thing’ that has just happened, this supposed ‘event’” (86). We are not only unable appropriately to name and, in doing so, to grasp the significance of 9/11, but we must also live in a world where terrorist attacks hinder our ability to carry on our lives. Since there is no way to know when or where a terrorist attack might occur, a sense of impending doom threatens us just as it keeps us from coming to grips with terror already faced. Derrida writes, “there is traumatism with no possible work of mourning when the evil comes from the possibility to come of the worst, from the repetition to come–though worse” (97). This is part of the power wielded by terrorists. They do not seek to overthrow but to destabilize the systems of countries such as the U.S. Indeed, it is through the symbolic force of their acts, as Habermas suggests, that they incite terror and, thereby, inflict their wounds.

     

    Habermas and Derrida also share an interest in the ways in which the rest of the world has been affected by and has responded to the attack. For Habermas and Derrida, the Bush administration in particular should be held accountable for its actions, which, they agree, have tended to increase rather than reduce the potential for violence. This criticism stems from the nature of global terrorism and the administration’s response to it. Today’s terrorists gain power not by overthrowing, but by destabilizing the systems of world superpowers. Because terrorists work at the level of the symbolic, they wage war without marching onto a battlefield and cannot be defeated like a typical enemy. As Habermas notes, “the global terror that culminated in the September 11 attack bears the anarchistic traits of an impotent revolt directed against an enemy that cannot be defeated in any pragmatic sense” (34). This kind of conflict can benefit both “sides”: it benefits terrorists because it enables them to continue to wage war on a world stage, and it benefits governments like the U.S. because a “war on terror” is a useful political tool for assuring that under-motivated military and political actions will be tolerated indefinitely. This scenario may appear obvious to some, but its specific mechanisms, as Habermas and Derrida make clear, must be addressed if it is to be in any way ameliorated.

     

    Habermas locates the potential causes of global terrorism in the clash between religious fundamentalism and modernization. He sees fundamentalism as analogous to a “repression of striking cognitive dissonances” that “occurs when the innocence of the epistemological situation of an all-encompassing world perspective is lost and when, under the cognitive conditions of scientific knowledge and of religious pluralism, a return to the exclusivity of premodern belief attitudes is propagated” (32). This means that for Habermas modernization is largely responsible for religious fundamentalism. Secularization and economic growth, as exemplified in and by the West, is a threat to many non-Western countries that have been “split up into winner, beneficiary, and loser countries” (32). A country like the U.S. serves not only as a model of what many countries strive to attain, but also “as a scapegoat for the Arab world’s own, very real experiences of loss, suffered by populations torn out of their cultural traditions during processes of accelerated modernization” (32).

     

    While Derrida does not ignore the role that fundamentalism plays in terrorist acts, he takes a different approach in explaining what he feels are the origins of global terrorism. For him, global terrorism is made possible by an “autoimmunitary process,” meaning that imperial powers in the West make possible the very attacks that they hope to preempt. He writes, “as we know, an autoimmunitary process is that strange behavior where a living being, in quasi-suicidal fashion, ‘itself’ works to destroy its own protection, to immunize itself against its ‘own’ immunity” (94). Derrida categorizes autoimmunity in the case of 9/11 into three moments of “reflex and reflection” that involve: 1) “the Cold War in the head”; 2) “worse than the Cold War”; and 3) “the vicious circle of repression.” The first moment of “suicidal autoimmunity” occurs when a country trains the people who will later terrorize it. The second follows when the world is put at risk by the “terrorists” who were initially enlisted as “freedom fighters.” No longer affiliated with the state that funded them, these terrorists become a risk to a world that has no real way to appease them other than to reverse the process of modernization that helped make them powerful in the first place. The last moment, according to Derrida, is exemplified by the war on terrorism. As he suggests, such a “war” will continue to be waged indefinitely since civilians and other insurgents, people who consider the acts by countries such as the United States terroristic, will continue to fight back using their own means. For Derrida, this circle of violence will continue if left unchecked by international law.

     

    On the subject of international law, Habermas and Derrida share similar ideals even if they endorse different methods for realizing those ideals. It is also on the subject of international law that their ties to the Enlightenment become most apparent. While Habermas endorses universalism in various forms, he also understands that universal concepts can be used ignominiously: “the universalistic discourses of law and morality can be abused as a particularly insidious form of legitimation since particular interests can hide behind the glimmering façade of reasonable universality” (42). By the same token, he claims, “just as every objection raised against the selective or one-eyed application of universalistic standards must already presuppose these same standards, in the same manner, any deconstructive unmasking of the ideologically concealing use of universalistic discourses actually presupposes the critical viewpoints advanced by these same discourses” (42).

     

    Habermas’s reliance upon universals is, of course, at odds with Derrida’s rejection of them. But readers might be surprised to find that Derrida comes close to advocating the need for what Habermas refers to as “universal discourses of law.” Derrida writes:

     

    Despite my very strong reservations about the American, indeed European, political posture, about the "international antiterrorist" coalition, despite all the de facto betrayals, all the failures to live up to democracy, international law, and the very international institutions that the states of this "coalition" themselves founded and supported up to a certain point, I would take the side of the camp that, in principle, by right of law, leaves a perspective open to perfectibility in the name of the "political," democracy, international law, international institutions, and so on. (113-14)

     

    Derrida does not claim that international institutions are without fault. Indeed, one of his most important critiques of organizations such as the United Nations is that the countries that make up those organizations do not always abide by the laws they create. Still, as he suggests, international institutions and the possibility of their “perfectibility” are necessary, for if there is to be any semblance of stability or accountability in the world, it must come about both through constant revision of existing institutions and through their promise, and perhaps their ability, to help establish and maintain open, equitable, and peaceful relations among nations and peoples.

     

    Both Habermas and Derrida see cosmopolitanism as one way to achieve a modicum of peace and stability across the globe, but neither would stop at achieving a cosmopolitan world order. For if cosmopolitanism broadly construed implies the belief that all individuals are citizens of the world, then the term itself carries with it the possibility that people can be defined as citizens within and apart from states to which they may or may not belong as legal subjects. This notion has benefits–it could make way for mutual respect and perspective-taking, for a start–but it may also have drawbacks, particularly if being a citizen means subjecting oneself to doctrinal laws and beliefs. It is a useful concept if it is not seen as an end in itself. Accordingly, Derrida offers a particular way to move beyond cosmopolitanism:

     

    What I call "democracy to come" would go beyond the limits of cosmopolitanism, that is, of a world citizenship. It would be more in line with what lets singular beings (anyone) "live together," there where they are not yet defined by citizenship, that is, by their condition as lawful "subjects" in a state or legitimate members of a nation-state or even of a confederation or world state. (130)

     

    While Derrida would do away with the nation-state, he would not replace it with a world-state in which all peoples would be “united” under a single regime as world citizens. Indeed, such a position would limit his notion of “democracy to come.” His notion of “democracy to come” bypasses the limitations of cosmopolitanism because it is less about individuals defined as lawful subjects or citizens and more about living together as “singular beings.” “Democracy to come” can, then, be seen as the promise of an equitable and perhaps peaceful future that is embodied in the present. If seen in this way, Derrida offers not a solution to specific problems of international law but, instead, a scenario for readers to consider, an ideal that, even if not immediately realizable, could nonetheless prompt thinking and dialogue.

     

    Like Derrida, Habermas believes in cosmopolitanism but also notes its flaws: “the ontologization of the friend-foe relation suggests that attempts at a cosmopolitan juridification of the relations between the belligerent subjects of international law are fated to serve the masking of particular interests in universalistic disguise” (38). Habermas sees cosmopolitanism as useful, but only if the concept involves rational communication and what he calls “mutual perspective-taking”: “in the course of mutual perspective-taking there can develop a common horizon of background assumptions in which both sides accomplish an interpretation that is not ethnocentrically adopted or converted but, rather, intersubjectively shared” (37). Habermas’s ideal vision, like Derrida’s, invites readers to consider a world in which citizens share an equal opportunity to live how they wish to live, speak how they wish to speak, feel how they wish to feel. Although both share a somewhat utopian vision, it is Derrida who hits upon a crucial critique of such a world. He understands that equitable communication as Habermas describes it would involve universal access to the same type of reason. Derrida questions universal reason, but he also considers the possibility of such reason necessary when addressing issues of international law, global terrorism, and globalization in general.

     

    This implicit debate between Habermas and Derrida is, in fact, most direct–and most lively–in their discussion of the notions of tolerance and hospitality. Habermas emphasizes the notion of tolerance, despite certain limitations. He understands that tolerance is problematic in that the concept “possesses [in] itself the kernel of intolerance” (41). This is so because tolerance involves setting boundaries that one allows others to cross. In short, tolerance suggests that a stronger person or nation allows a weaker person or nation to act as he, she, or it pleases in relation to a certain limit. Beyond that limit, tolerance devolves into intolerance. Habermas counters this scenario by explaining how a constitutional democracy does not involve a single person or group tolerating another: “On the basis of the citizens’ equal rights and reciprocal respect for each other, nobody possesses the privilege of setting the boundaries of tolerance from the viewpoint of their own preferences and value-orientations” (41). Anticipating Derrida’s critique of tolerance, Habermas notes, “straight deconstruction of the concept of tolerance falls into a trap, since the constitutional state contradicts precisely the premise from which the paternalistic sense of the traditional concept of ‘tolerance’ derives” (41).

     

    Derrida picks up where Habermas leaves off, criticizing tolerance while endorsing his own notion of hospitality: “Tolerance remains a scrutinized hospitality, always under surveillance, parsimonious and protective of its sovereignty” (128). As Derrida suggests, tolerance does more to protect the hegemony of the person or state that tolerates than it does to achieve equality. Opposed to this necessarily limited tolerance is Derrida’s hospitality: “Pure and unconditional hospitality, hospitality itself, opens or is in advance open to someone who is neither expected nor invited, to whomever arrives as an absolutely foreign visitor, as a new arrival, nonidentifiable and unforeseeable, in short, wholly other” (128-29). Given this definition of hospitality, it seems as if Derrida chooses to ignore the concept’s applicability. Not so. As he writes, “an unconditional hospitality is, to be sure, practically impossible to live; one cannot in any case, and by definition, organize it” (129). This is not to say that hospitality is impractical, even if it is “practically impossible to live”; rather, it may be that the realization of the concept lies in the ability or willingness of individuals, not nation-states, to embrace it. Put another way, hospitality may be realized in practice by individuals even if it may be unrealistic at this historical moment for nation-states to do the same. In this sense, hospitality at once resists unified organization by a nation-state as it encourages unified understanding among individuals who would accept it as a way of relating to others in the world.

     

    For Borradori, the realization of Derrida’s vision is possible only if philosophy plays a central role in understanding 9/11, global terrorism, and international law. Indeed, part of her aim in Philosophy in a Time of Terror is to think how philosophers might be involved in helping the world understand and, perhaps, mourn 9/11 and the events that have followed it. Habermas, for one, does not seem to believe that intellectuals have a specific role in offering the world ways to cope with 9/11 or with global terrorism. He feels that we should exercise caution when delegating responsibility to specific groups who may or may not have the expertise to make informed decisions: “If one is not exactly an economist, one refrains from judging complex economic developments” (30). Derrida has a different vision of the philosopher’s role in dealing with the trauma provoked by 9/11: “Though I am incapable of knowing who today deserves the name philosopher . . . I would be tempted to call philosophers those who, in the future, reflect in a responsible fashion on these [Borradori’s] questions and demand accountability from those in charge of public discourse, those responsible for the language and institutions of international law” (106). For Derrida, the responsibility of the philosopher is to find responsible ways to make sense out of tragedy, even if it means criticizing those very countries that have been victims of global terrorism. He could, that is, “condemn unconditionally . . . the attack of September 11 without having to ignore the real or alleged conditions that made it possible” (107).

     

    It is possible, I think, to take something from both Habermas’s and Derrida’s positions. Habermas is right to suggest that philosophers and intellectuals are not necessarily expert in all areas of war and conflict and should not act as “armchair strategists” (30). Derrida, in line with Borradori, offers important insights as well. To understand global terrorism requires that we understand its causes and effects. From economics to politics, from international law to human rights, philosophy provides a discourse that can help the world better understand and learn from global terrorism, its effects, and its causes. Ultimately, the dialogues in Philosophy in a Time of Terror reveal that the differences between Habermas and Derrida outweigh the similarities. Even so, readers have reason to find hope in the way Habermas and Derrida consider each other’s differences. And this, I think, speaks to one of the most significant messages in Philosophy in a Time of Terror. If Habermas and Derrida, rationalism and deconstruction, have found ways to communicate, to collaborate, then it is possible for others to do the same. It is up to us to begin and to sustain dialogue with those of whom we have tended to think without toleration.

     

     

  • Theory and the Democracy to Come

    R. John Williams

    Department of Comparative Literature
    University of California, Irvine
    rjwillia@uci.edu

     

    Review of: Jacques Derrida, Rogues: Two Essays on Reason. Trans. Pascale-Anne Brault and Michael Naas. Stanford: Stanford UP, 2001. Voyous: Deux essays sur la raison.Paris: Editions Galilée, 2003.

     

     

    Well, I’ve always regarded the link . . . I’ve never really perceived much of a link to tell you the truth.

     

    –Noam Chomsky

     

    In the quotation above, Noam Chomsky attempts to answer a question put to him by Jonathan Ree in an interview for Radical Magazine about the relation between his theoretical work in linguistics and his activist and anarchist work in politics. In this interview and elsewhere, Chomsky denies that there is such a link, even though some of his readers might find that disconnect unfortunate. “I would be very pleased,” Chomsky says in another interview, “to be able to discover intellectually convincing connections between my own anarchist convictions on the one hand and what I think I can demonstrate or at least begin to see about the nature of human intelligence on the other, but I simply can’t find intellectually satisfying connections between those two domains.”1 If, however, Chomsky rejects the possibility of those links, Jacques Derrida’s Rogues: Two Essays on Reason seems on the contrary to revel in making “intellectually satisfying connections” between the realms of epistemology and political philosophy.

     

    Certainly, it makes sense to understand Derrida in his recent work as directly engaged with issues of contemporary political philosophy, even as he has continued to revise and advance a theory of language and thought which he began to develop in the 1960s. The marketing description of Rogues, for example, advertises “unflinching and hard-hitting assessments of current democratic realities,” claiming that the essays “are highly engaged with the current political events of the post-9/11 world,” and Derrida’s publishers will no doubt continue to accentuate this ongoing political relevance. But if it seems to some readers that Derrida’s work has become more political in recent years, Derrida himself refuses to see this as something new. In the two essays on reason that make up Rogues, Derrida attempts self-consciously to revisit and revise his earlier projects, bringing out their political relevance. For instance, in a passage on paradoxical tensions within the idea of “democracy,” Derrida argues,

     

    there never was in the 1980s or 1990s, as has sometimes been claimed, a political turn or ethical turn in "deconstruction," at least not as I experience it. The thinking of the political has always been a thinking of différance and the thinking of différance always a thinking of the political, of the contour and limits of the political, especially around the enigma or the autoimmune double bind of the democratic. (39)

     

    Derrida characterizes his initial, meta-performative revision of structuralist linguistics (différance) in terms of its relation to the empirical and ontological limitations of democracy important to his recent work.

     

    The two masterfully translated essays collected in this volume were initially presented as lectures, one at Cerisy-la-Salle on 15 July 2002 and the other at the opening of the twenty-ninth Congrés de l’Association des Sociétés de Philosophie de Langue française [ASPLF] at the University of Nice, 27 August 2002. Mixing straightforward political commentary (on 9/11, the war on terrorism, human cloning, etc.) with discussions of political philosophy (in passages on Kant, Husserl, Heidegger, Nancy, and others), the essays in Rogues work together to deconstruct “democracy” as a mode of sovereignty.

     

    In his preface to the two lectures, Derrida quotes from La Fontaine’s fable “The Wolf and the Lamb,” in which a ravenous wolf accuses an innocent lamb of having muddied the wolf’s drinking water. The lamb protests, citing the persuasive evidence that the lamb is in fact 20 feet downstream from the wolf and therefore could not have muddied the wolf’s water. “You’re muddying it!” the wolf insists, “And I know that, last year, you spoke ill of me.” But the lamb protests again, “How could I do that? Why I’d not yet even come to be . . . at my dam’s teat I still nurse.” At every point of defense, the wolf seems to win out, and, in the end, “the Wolf dragged and ate his midday snack. So trial and judgment stood” (x). The moral of the fable comes, in a manner that seems characteristic of the exercise of sovereignty, at the beginning of La Fontaine’s version, before the narrative has unfolded (the decision before the evidence, the judgment before the trial): “The strong are always best at proving they’reright, / Witness the case we’re now going to cite.”

     

    Derrida’s preface to these two essays thus invokes an old and venerable tradition of thinking about the relation between force and law and, indeed, the priority of force over law, which “long preceded and long followed La Fontaine, along with Bodin, Hobbes, Grotius, Pascal, Rousseau, and so many others, a tradition that runs, say, from Plato to Carl Schmitt” (xi). But at the same time Derrida wonders, “What political narrative, in the same tradition, might today illustrate this fabulous morality? Does this morality teach us, as is often believed, that force ‘trumps’ law? Or else, something quite different, that the very concept of law, that juridical reason itself, includes a priori a possible recourse to constraint or coercion and, thus, to a certain violence?” (xi). Of course, following Derrida’s answers to these questions requires not only a close reading of these two essays, but also an understanding of much of his later work and especially of his last lectures and seminars on “The Beast and the Sovereign,” to which he refers several times in Rogues.[2]

     

    packed full of wolves from the four corners of the world, the seminar [on the Beast and the Sovereign] was in large part a lycology and a genelycology, a genealogical theory of the wolf (lycos), of all the figures of the wolf and the werewolf in the problematic of sovereignty. It just so happens that the word loup-garou in Rousseau's Confessions has sometimes been translated into English not as werewolf but as outlaw. We will see a bit later that the outlaw is a synonym often used by the American administration along with or in place of rogue in the expression "rogue state." (69)

     

    The first and longer essay in Rogues, “The Reason of the Strongest (Are There Rogue States?),” was presented at a conference entitled “The Democracy to Come (Around Jacques Derrida).” This phrase, “the democracy to come,” echoes throughout Rogues as a kind of refrain. “Democracy to come” comes to mean different, even contradictory things over the course of Derrida’s argument. “Democracy to come” suggests, on the one hand, a protest “against all naïveté and every political abuse, every rhetoric that would present as a present or existing democracy, as a de facto democracy, what remains inadequate to the democratic demand” (86), and on the other hand, something charged and pregnant on the horizon, an “event” with all of the political and sexual promise of what is “to come.” It signals, in other words, the political and the biological, “force without force, incalculable singularity and calculable equality, commensurability and incommensurability, heteronomy and autonomy, indivisible sovereignty and divisible or shared sovereignty, an empty name, a despairing messianicity or a messianicity in despair, and so on” (86).

     

    All of the binaries that Derrida balances in the notion of a “democracy to come” turn on the fulcrum of what he calls the paradox of “autoimmunity.” Autoimmunization, as any doctor could tell you, involves a condition in which the cell-mediated response of an immune system begins to act against the constituents of a body’s own tissues. That is, the body becomes confused, and supposes that it has somehow begun to be dangerous to itself, and so reacts accordingly. In a like manner, “democracy” seems to require a certain “auto-immunization” in order to survive, as when populations decide democratically to abolish democracy. Here Derrida points to the example of Algeria:

     

    The Algerian government and a large part, although not a majority, of the Algerian people (as well as people outside Algeria) thought that the electoral process under way would lead democratically to the end of democracy. They thus preferred to put an end to it themselves. They decided in a sovereign fashion to suspend, at least provisionally, democracy for its own good, so as to take care of it, so as to immunize it against a much worse and very likely assault. . . . There is something paradigmatic in this autoimmune suicide: fascist and Nazi totalitarians came into power or ascended to power through formally normal and formally democratic electoral processes. (33)

     

    Derrida also points to the example of the aftermath of 9/11 in the United States and elsewhere, where a phantom “war on terror” means, at least to some, that the United States “must restrict within its own country certain so-called democratic freedoms and the exercise of certain rights by, for example, increasing the powers of police investigations and interrogations, without anyone, any democrat, being really able to oppose such measures” (40). This is not to say that 9/11 created this situation, even if that event “media-theatricalized” the effects and preconditions of an autoimmunization already in progress (xiii).

     

    Still, as useful as the concept of “autoimmunization” is, the notion that “democracy” operates within a monopolizing code of “exceptions” is not new; in the seventh chapter of Rogues Derrida concedes as much: “Had I said or meant only that, wouldn’t I have been simply reproducing, even plagiarizing, the classical discourses of political philosophy?” (73). In fact, Derrida reminds us, Rousseau’s On the Social Contract argues that in its “strict” sense democracy is impossible: “Taking the term in the strict sense, a true democracy has never existed and never will” (73). So what, then, does Derrida contribute to the discourse of political philosophy?

     

    There are a number of important interventions in Rogues. In the first essay, Derrida asks: “can one and/or must one speak democratically of democracy?” (71). This question calls attention to the general epistemological predicament of explaining democracy (which Derrida has already shown to be an aporetic concept) so that “anyone” could understand it. It is a surprisingly simple question that points to the difficulty in achieving any kind of true democracy. As Derrida explains, to “speak democratically of democracy,” or to say that “anyone must be able to understand, in democracy, the univocal meaning of the word and the concept democracy” is to imply “that anybody or anyone can or may, or should be able to, or should have the right to, or ought to, and so on” (71). Significantly, the italicized portions of that last quotation were delivered in English, the rest of it in French, even as the previous paragraph is sprinkled with words in Greek and German. Not surprisingly, Derrida implies in the following paragraphs that it is not possible to speak democratically of democracy, for to do so, “it would be necessary, through some circular performativity and through the political violence of some enforcing rhetoric, some force of law, to impose a meaning on the word democratic and thus produce a consensus that one pretends, by fiction, to be established and accepted–or at the very least possible and necessary: on the horizon” (73).

     

    This refusal to allow for some fixed and stable speaking “democratically of democracy” may be what allows Derrida to posit “intellectually satisfying connections” between his theoretical and political work. By contrast, Chomsky, as I have mentioned, sees no problem with “speaking democratically of democracy” and so resists any effort to posit necessary links between a specialized theory and politics. In Language and Responsibility (1979), for example, Chomsky emphasizes the danger in attempting to find links between his writing in linguistics and politics:

     

    One must be careful not to give the impression, which in any event is false, that only intellectuals equipped with special training are capable of [social and political analysis]. In fact that is just what the intelligentsia would often like us to think: they pretend to be engaged in an esoteric enterprise, inaccessible to simple people. But that's nonsense. . . . The alleged complexity, depth, and obscurity of these questions is part of the illusion propagated by the system of ideological control, which aims to make the issues seem remote from the general population and to persuade them of their incapacity to organize their own affairs or to understand the social world in which they live without the tutelage of intermediaries. For that reason alone one should be careful not to link the analysis of social issues with scientific topics which, for their part, do require special training and techniques, and thus a special intellectual frame of reference before they can be seriously investigated. (3)

     

    Whereas Derrida’s poststructuralist stance uncovers problems in the very idea that “democracy” could as a concept be understood, Chomsky’s socialist libertarian work relies on the assumption that, given the correct information, people will arrive at the truth of a given political situation–a difference that helps to explain their distinct approaches to the matter of bridging theory and politics.

     

    If Derrida and Chomsky are coming from different places, the former nevertheless draws productively on the latter in Rogues. In what may be the most interesting chapter of the book, “(No) More Rogue States,” Derrida refers to Chomsky’s Rogue States: The Rule of Force in World Affairs in order to present the hypothesis that “if we have been speaking of rogue states for a relatively short time now, and in a recurrent way only since the so-called end of the so-called Cold War, the time is soon coming when we will no longer speak of them” (95). We will no longer speak of them because, in the first place, people have since 9/11 begun to take a more active and instrumental interest in the official discourse of “rogue states,” which means that it will be more and more difficult to speak of them other than in the self-contradictory terms of U.S. political discourse.

     

    [Chomsky's] Rogue States lays out an unimpeachable case, supported by extensive, overwhelming, although in general not widely publicized or utilized information, against American foreign policy. The crux of the argument, in a word, is that the most roguish of rogue states are those that circulate and make use of a concept like "rogue state," with the language, rhetoric, juridical discourse, and strategico-military consequences we all know. The first and most violent of rogue states are those that have ignored and continue to violate the very international law they claim to champion, the law in whose name they speak and in whose name they go to war against so-called rogue states each time their interests so dictate. The name of these states? The United States. (96)

     

    But if the United States seems the most roguish of rogue states, it is not the only one. All states, whether “democratic” or not, act according to the foundational logic of roguishness. Such is the fundamental clash between the demo– and the -cracy: “As soon as there is sovereignty, there is abuse of power and a rogue state” (102). There cannot be, in other words, a sovereign who is not also a rogue: “There are thus only rogue states. Potentially or actually. The state is voyou, a rogue, roguish. There are always (no) more rogue states than one thinks” (102). The parenthetical “no” is Derrida’s shorthand way of saying “when there are only rogues, then there are no more rogues” (103).

     

    Another reason why, in Derrida’s hypothesis, the phrase “rogue states” will eventually disappear is that the hyper-theatricalized media aftermath of 9/11 illustrated an already obvious truth: “after the Cold War, the absolute threat no longer took a state form” (104). 9/11 simply announced or amplified this fact:

     

    Such a situation rendered futile or ineffective all the rhetorical resources (not to mention military resources) spent on justifying the word war and the thesis that the "war against international terrorism" had to target particular states that give financial backing or logistical support or provide a safe haven for terrorism, states that, as is said in the United States, "sponsor" or "harbor" terrorists. All these efforts to identify "terrorist" states or rogue states are "rationalizations" aimed at denying not so much some absolute anxiety but the panic or terror before the fact that the absolute threat no longer comes from or is under the control of some state or some identifiable state form. (105-106)

     

    If, however, the phrase “rogue states” has fallen or will shortly fall into desuetude, “rogue” is by itself still very much with us. In fact, the Pentagon now describes those soldiers accused of torturing prisoners at Abu Ghraib as “rogue soldiers,” a move that demonstrates the depth of Derrida’s contention that “abuse of power is constitutive of sovereignty itself” (102).

     

    Another contribution made by Derrida’s Rogues occurs in the second lecture, at a moment when the aporetic aspect of democracy seems to have made political action all but impossible. What is one to do if democracy, in all its messy autoimmunity, must remain forever on the horizon, always only “to come”? What can we do while we wait for what is “to come”? In a complex, but strikingly lucid passage, Derrida attempts to answer these questions by referring to the question of “unconditionality.” Political philosophy has seemed fairly unanimous on the connection between unconditionality and sovereignty:

     

    This inseparability or this alliance between sovereignty and unconditionality appears forever irreducible. Its resistance appears absolute and any separation impossible: for isn't sovereignty, especially in its modern political forms, as understood by Bodin, Rousseau, or Schmitt, precisely unconditional, absolute, and especially, as a result, indivisible? Is it not exceptionally sovereign insofar as it retains the right to the exception? The right to decide on the exception and the right to suspend rights and law [le droit]]? (141)

     

    If sovereignty and unconditionality are inseparable, what would it mean to speak of their separation? Derrida argues that the “democracy to come” depends on our attempt to separate them: “It would be a question not only of separating this kind of sovereignty drive from the exigency for unconditionality as two symmetrically associated terms, but of questioning, critiquing, deconstructing, if you will, one in the name of the other” (143). That is to deconstruct sovereignty in the name of unconditionality. With this gesture, Derrida refers us again to some of his previous work:

     

    Among the figures of unconditionality without sovereignty I have had occasion to privilege in recent years, there would be, for example, that of an unconditional hospitality that exposes itself without limit to the coming of the other, beyond rights and laws, beyond a hospitality conditioned by the right to asylum, by the right of immigration, by citizenship, and even by the right to universal hospitality, which still remains, for Kant, for example, under the authority of a political or cosmopolitical law. Only an unconditional hospitality can give meaning and practical rationality to a concept of hospitality. . . . Another example would be the unconditionality of the gift or of forgiveness. I have tried to show elsewhere exactly where the unconditionality required by the purity of such concepts leads us. A gift without calculable exchange, a gift worthy of this name, would not even appear as such to the donor or donee without the risk of reconstituting, through phenomenality . . . , a circle of economic reappropriation that would just as soon annul its event. Similarly, forgiveness can be given to the other or come from the other only beyond calculation, beyond apologies, amnesia, or amnesty, beyond acquittal or prescription, even beyond any asking for forgiveness, and thus beyond any transformative repentance, which is most often the stipulated condition for forgiveness, at least in what is most predominant in the tradition of the Abrahamic religions. (149)

     

    Hospitality, the gift, forgiveness. These are difficult concepts, and it is difficult to imagine what forms they may take in our postmodern political sphere. But this invitation to imagine otherwise is necessary at a moment when the vulgar adhesive that joins unconditionality and sovereignty seems to be drying fast. Is Derrida’s complex mix of poststructural and political philosophy (presented within an “undemocratic” matrix of rhetorical play and discursive sophistication) more likely to split the atom of sovereign unconditionality than Noam Chomsky’s quasi-Cartesian attack on American exceptionalism? Fortunately, we need not answer that question absolutely, since both have something to offer; it is, however, important to keep asking.

     

    Notes

     

    1. Both interviews are featured in Achbar and Wintonick’s now-classic documentary “Manufacturing Consent–Noam Chomsky and the Media.” As recently as 2 November 2003, in an interview with the New York Times, Chomsky maintains that there is “virtually no connection” between his publications in linguistics and politics. Chomsky’s refusal to find a link between these domains has not prevented others from attempting to find it for him. See, for example, Salkie, chapter 9, “Connections.” The introduction to The Cambridge Companion to Noam Chomksy also contains a section on the unity of Chomsky’s theoretical and political thought.

     

    2. The brief summary of Derrida’s seminar that follows is based on my notes of his lectures at the University of California, Irvine, from 2002-2004.

     

    Works Cited

     

    • Achbar, Mark and Peter Wintonick. Manufacturing Consent–Noam Chomsky and the Media. Zeitgeist Films, 2003.
    • Chomsky, Noam. Language and Responsibility. New York: Pantheon, 1979.
    • —. Rogue States: The Rule of Force in World Affairs. Cambridge: South End, 2000.
    • Derrida, Jacques. “The Animal That Therefore I am (More to Follow).” Critical Inquiry. 28 (Winter 2002): 369-418.
    • Salkie, Raphael. The Chomsky Update: Linguistics and Politics. Boston: Unwin Hyman, 1990.

     

  • Fond Perdu

     

     

     

    Fond Perdu, 2004
    Collage. Acrylic on paper (29 x 44 cm).
    Gérard Titus-Carmel

     

     

  • Indirect Address: A Ghost Story

    Bob Perelman

    Department of English
    University of Pennsylvania
    perelman@english.upenn.edu

    [To Jacques Derrida]
     

    I was already iterable when I woke up this A. M.:
    I had begun to write to [you]

     

    in Philadelphia and am now in New York,
    dragging a motley pageant of tenses

     

    across the first sentence
    which is only just now finishing.

     

    The deadline for this piece
    on the occasion of [your] death

     

    had passed before I began
    and of course it is even later now,

     

    which iterates me more. Across the mirror
    it must be strict and still, I imagine:

     

    no iteration. But imagining
    means nothing when words

     

    have stopped moving.
    Direct address between the living

     

    and the dead is foolish, unless
    some gemütlich, unheimlich correspondence course

     

    has already been inaugurated,
    and has either of [us] signed up for that?

     

    Here, times and places still bleed into one another,
    New York, Philadelphia, yesterday, two days later,

     

    and we continue to cut ourselves.
    Courting coincidence, possibly. Myself, twice

     

    while making dinner, nicking one thumb
    (think empiricism meets formalism) and ten minutes later

     

    grating the knuckle of the other on the cheese grater
    (think pragmatism applied with brute disregard for local

     

    circumstance). One thing bleeding into another:
    can’t that be one of the pleasures

     

    of a settled art? Watercolor.
    But words, think: which is more

     

    to the point, “words bleed into one another,” or
    simply “words bleed”? Neither.

     

    They’re neither the neutral relays of a combinatory
    enjoyment, nor the carriers

     

    of a transcendently central
    materiality of language.

     

    “Words bleed,” that’s the feeling
    of unstanchable vulnerability

     

    that underlay modernism at its most Deco-baked-marmoreal.
    Here, where [you] have died, we remain in the midst

     

    of a long, stuttering song
    that no one now writing

     

    can’t not hear:
    it’s going strong, shattered into slogans

     

    each designed
    to carry the tune. Blood

     

    and boundaries: dull old tropes
    but still tripping up heels faster than ever.

     

    O, [you] who never
    seemed to like finishing a sentence

     

    when it was always possible
    to go on writing it, as if,

     

    within what might be made intelligible,
    it was always the height of noon,

     

    now for [you] the untraceable ink
    of an endless period

     

    has put a stop to the continuous
    present [you] inscribed

     

    onto just about every word.
    “I weep for Lycidas, he is dead” we say

     

    and life remains iterable.
    [You’re] not, however.

     

    So questions of address
    remain vexed, especially since

     

    the language I am writing from,
    flighty and false-bottomed as it is,

     

    makes a few inflexible and awkward demands.
    Here (American-English) there is no avoiding

     

    the overlap of the sound of a formal regard
    for appropriate distance–[you]–

     

    with a more intimate noise–[you].
    [You], sir, and [you], old mole,

     

    seem to be one and the same,
    at least if sounds sound like

     

    what they’re supposed to mean. Hence the brackets.
    Which makes for a certain double-jointedness.

     

    But doesn’t meaning only appear
    after address has been exchanged?

     

    And I have addressed [you.]
    [You] first appeared as a stage villain

     

    in “Movie” in Captive Audience
    –do I really have to tell [you] this?–

     

    where against Grant and Hepburn [you] played
    some shadowy figure with shadowy powers

     

    suggesting an end to their regal portrayals of spontaneity.
    In other words: there was a script,

     

    or more, a counter-script, which [you] had in your possession.
    At one point the poem

     

    suggested [you] and Hepburn
    had forged a certain intimacy

     

    but it was one of those ‘always already’ shots,
    where the audience doesn’t get to see anything

     

    except [your] arm handing her
    a towel in the bathtub.

     

    Next, [you] appeared in “The Marginalization of Poetry”
    in propria persona, as [yourself] so to speak,

     

    where I quoted Glas as an example of multi-margined writing:
    “One has to understand that he

     

    is not himself before being Medusa
    to himself. . . . To be oneself is

     

    to-be-Medusa’d . . . . Dead sure of self. . . .
    Self’s dead sure biting (death)” after which

     

    I shrugged and winked:
    “Whatever this might mean, and it’s possibly

     

    aggrandizingly post-feminist, man swallowing woman,”
    and then issued a vague compliment:

     

    “nevertheless in its complication of identity it
    seems a step toward a more

     

    communal and critical reading and writing
    and thus useful.” Useful:

     

    that’s one of those
    canapes that taste of nothing

     

    but institutional compromise.
    Words are usable things

     

    but it doesn’t go the other way:
    things aren’t words. I can quote “Lycidas”

     

    but not the tormented street tree out front.
    “Poems are made by fools like me,”

     

    the man wrote, “but only God can quote
    a tree.” When [you] live by the book

     

    [you] tote it around, die by it,
    and by the book is how [you] continue.

     

    That’s the same in poetry and philosophy.
    But, still, the notion of two activities forming

     

    the basis for a critical community is,
    as [you] might say, utopian.

     

    (We might say imaginary.) Poet
    and philosopher at times have issued

     

    cordial invitations for the other
    to come over and discuss the pressing

     

    common concerns, but there hasn’t been
    much pressure to actually visit.

     

    I continued, “Glas is still, in
    its treatment of the philosophical tradition,

     

    decorous; it is marginalia, and the
    master page of Hegel is still

     

    Hegel, and Genet is Hegel too.”
    The names don’t go away

     

    when the eyes close. Neither do
    the already crowded screens of younger readers

     

    at least as long as the arrow of time
    keeps pointing in the same direction.

     

    And all attempts at instruction will,
    somewhere along the line, find the instructors

     

    in the discombobulated position of gesturing toward
    some ideological Rube Goldberg ruin, folly, pratfall.

     

    The poem. The concept.
    But let’s not let parallelism set precedents.

     

    On the other hand, note
    how the upcoming line break, although

     

    philosophically insignificant (and semantically insignificant,
    it must be said), is poetically

     

    still up for grabs. We poets
    (it must be written) really don’t know,

     

    are prohibited (structurally) from knowing
    what we write before it’s written, and,

     

    in a back-eddying double-whammy,
    can’t really forget what’s come before

     

    the most recent word.
    In that we model both the alert insouciance

     

    of the newborn (with its millennia of entailments,
    but still in-fant, unspeaking) and

     

    the fully aged fluent inhabitant
    of language flowing

     

    around a life, offering infinite comprehension
    all the way out to the sedgy banks

     

    with fields of goldenrod beyond them
    but not the algorithm that would allow for

     

    moment by moment access to the whole story
    which we never get to hold with frankly human concern

     

    but have to address via the nerved scrimmage
    of writing. Skin’s mostly healed, but mind persists

     

    in changing. Before, I’d figured [you] as some
    jauntily allegorized emblem of

     

    unknowableness and now [you] are
    playing that part more unerringly than ever.

     

     

  • Full Dorsal: Derrida’s Politics of Friendship

    David Wills

    English Department and Department of Languages, Literatures, and Cultures
    University at Albany, State University of New York
    DWills@uamail.albany.edu

     

    . . . and after the telephone call, I will turn my back on you to sleep, as usual, and you will curl up against me, giving me your hand, you will envelop me.

     

    Jacques Derrida, The Post Card

     

    The first version of this essay was written for a conference on Derrida’s Politics of Friendship sponsored by SUNY-Stony Brook in New York in November 2002. As fate would have it, that was the last occasion I saw Jacques Derrida before he fell ill, watching him back away down 6th Avenue, slightly bowing as he stretched out his arm to wave in his very personal and personable manner, as if he never wanted to be the first to turn and walk away. I could not have known then what sort of definitive “back” he would have turned towards us by the time my words found their way into print, even though the fact of mortality is readable in everything he wrote, and especially in Politics of Friendship. What I did know, and what enlivens the memory of him in the wake of his death, was the experience of a friendship in practice, upright and supportive from start to finish. This is dedicated to that memory.

     

    What sense could one give to the idea of a friendship against nature? We can imagine friendships that might be deemed unworthy of the name because something in them betrays the very positivity we ascribe to amity: the friendship of rogues, an unholy alliance, or a friendship of convenience. We could also imagine a friendship that demeans for one reason or another, or a friendship that is excessive according to this or that norm or expectation, and so is considered reprehensible. We could even imagine what some might consider an unhealthy relation between human and animal (he spends all his time with his dog), or human and machine (she spends all her time with her car), and although in the latter case we might be getting closer to what I am trying to have us imagine, it would still be a matter of the various moral rights of inspection by which what is supposed proper to friendship is controlled and determined. What I am asking us to imagine is instead a friendship that would be unnatural in its very conception, a concept of friendship that did not suppose it to issue from a beating heart, or some seat of emotion. In short a friendship artificially conceived or produced, what we might call a prosthetic friendship.

     

    Supposedly no such thing exists. Its possibility is certainly not entertained by the various philosophical discourses on friendship that are the objects of Derrida’s analysis in Politics of Friendship. Friendship, it seems, is systematically an affair of the natural and of the living. An unnatural friendship could only be conceived of as an immoral friendship, an uneconomical or wasteful one, but which in no way impugns the vital originary force of its pathos, its pneumaticity. However, as soon as friendship becomes a matter of politics, something it appears always already to be in its philosophical conception and therefore something that the conceit and title, not to mention the analyses, of Derrida’s book point to, then everything is otherwise. Indeed, it could be argued that it is precisely an unnatural friendship that Derrida promotes once he evokes “a deconstruction of the genealogical schema . . . . to think and live a politics, a friendship, a justice which begin by breaking with their naturalness or their homogeneity, with their alleged place of origin” (Politics 105).1 The deconstruction and originary rupture he has in mind in that context have to do with the thinking and implementation of another politics or democracy, and not with my idea of deconstituting a concept of friendship that is limited to the living, but clearly a friendship that is also a politics has in some way been impersonalized if not depersonalized. It has gone public or become something like a business relationship in a way that exceeds or acts in competition with what we naïvely understand friendship to be. Perhaps, in fact, the very question of friendship is a problematics of the relation between public and private space, that whereas amorous and familial relations are conceived of as private, and economic and political as public, friendship functions across the border separating private from public. What I am suggesting in any case is that a friendship that is always already “corrupted” by, say, a politics that is presumed to function outside of it, also raises the question of its supposed originary naturality. If friendship partakes of politics, would not the naturality that founds it also be seen to enter into a relation with some form of unnaturality?

     

    Let me add another set of questions. What would such an unnatural friendship look like? What does any friendship look like? What is its phenomenological representativity, or appresentativity? How do we know that such a thing exists, and what would the sense of it be, outside of its performance: outside of a frequentation (seeing two people, say, corresponding or keeping company), or outside of an exchange (of embraces, of gestures, of tokens, and so on)? Not that a secret friendship isn’t possible, but we would have to presume its very secrecy to be a function of its performativity. That is to say, the very effects of its secrecy would have to be negotiated in view of the fact that most friends show signs of affection; one could keep a friendship private only by scrupulously avoiding the public, one could keep it secret only by scrupulously declining to show the signs of it, by performing the non-performance of the signs of friendship, which is not the same as not performing the signs of friendship in the way that non-friends do. Furthermore, how would a phenomenology of friendship be distinguished from or opposed to that of something called love or passion? Is there a figure for friendship analogous to, but distinguishable from, what exists in a relation of passion, analogous to but distinguishable from the act of love, lovemaking, the carnal embrace? Or is it rather that friendship acts like a “preliminary” subset of the carnal, with looks, smiles, touching, embraces, and so on, but stopping before it gets to certain types of kiss and all the rest? If the carnal includes all the signs of friendship (and much more), then does friendship–at least to look at, the way we see it–have any specificity other than that of a domesticated or controlled carnality?

     

    If Politics of Friendship inscribes an originary heterogeneity in friendship in order to argue for a different genealogizing of it, and so of politics; if, in terms of its argument, friendship needs to be otherwise politicized, and politics otherwise structured in terms of amity, then Derrida’s book similarly raises questions concerning the rigorous purity of the distinction between friendship and love or friendship and the madness of passion. While raising those questions, Derrida to a great extent respects the tradition of the distinction; to do otherwise, he writes, would involve an impossible analytical project (“it would take another book” [221]). But his whole analysis comes and goes between the two, via an extraordinarily complex configuration, as I hope to show. One is left, in a sense, twisting and turning between love and friendship, as between philía and eros, and it is difficult to know, in the final analysis, what it all adds up to beyond the turning itself, beyond the torsion of a tropic catastrophe through which one continues to hear the disembodied voices of Diogenes, Laertius, Aristotle, Cicero, Montaigne, Nietzsche, Blanchot, and others, repeating something while no longer knowing where they first heard it.

     

    So if I were to go quickly towards the vantage point I want to work from, I would contend that friendship presumes the figure of an inter-view, a reciprocal perception, a face to face symmetry whose inimical converse would be the back to back that initiates a duel; and that within the same figural terms, a repoliticized friendship, perhaps distinguishable from love but only problematically so, would look like a dissymmetrical something, back to front, dorsal rather than frontal. And yet it would only be from the perspective of such a dorsality that a politics of and for the technological age as we experience it could begin to develop.2 Such a politics, a posthumanist politics as it were, would seem, after all, to be the very wager of Politics of Friendship.

     

    It is thus a certain figurality–a word I will distinguish from “positionality”–of love and friendship, sex and politics, that I want to entertain in what follows. Roland Barthes described his fragments of a lover’s discourse as choreographic figures, “to be understood, not in [their] rhetorical sense, but rather in [their] gymnastic or choreographic acceptation . . . . the body’s gesture caught in action” (1-2). I will argue that, short of a thesis, there is a type of choreography to be drawn out of the relations between politics and friendship in Derrida’s discussion, a series of turns that articulate a complicated figural or figurative set of gestures. It is as if, in looking at friendship as it articulates with politics, we see certain corporeal gestures or movements; as if there were complicated turns of amicable discourse deriving as much from friendship’s relation to the political as from its relation to the carnal, turns that imply and implicate, therefore, both a rhetoric and an erotics. What follows will play across the love/friendship distinction in pointing towards a figure, or set of figures common to both and yet without being in any way inimical to the lines of argument that are developed and the distinctions that are drawn in Politics of Friendship. This will involve a torsion of those arguments, a turning or détournement, something of a diverting of them, yet still within the context of a re-con-figuration, a particular rearrangement and perspectival shift.

     

    Turning is explicit from the beginning of Politics of Friendship; one of its major chapters is entitled “Recoils,”3 and by the end, with Blanchot’s formulation of a friendship of abandon(ment) through death (301-2), the choreographic sense of it has been developed far enough to suggest that friendship involves turning one’s back. Thus if there is to be a figure for distinguishing friend from enemy, beyond or this side of Schmitt’s reliance for that on the constant possibility of war (cf. Politics 130), it will be the gesture of turning one’s back, a politics of friendship as dorsality. It would be a choreographic instance that looks neither like a breaking-off of negotiations–walking away from talking, the end of diplomacy that for Schmitt doesn’t exist since it gets continued by means of war–nor like turning the other cheek, which can occur only after friendship has foundered on an initial act of violence. And if I am still insisting on a visual version or phenomenality of that gesture, it would be because it takes place only once friendship has broken out of the circuit of the sentimental, out of the self-enclosure of its privacy, become political and–this is my insistence–become technological. Such a turning of the back would be the figure for a particular fiduciary relation in the world, the trust that it implies, its presumption of non-enmity, something functioning beyond an economics of appropriation, within the aneconomics and analogic of the “perhaps” that is the opening to a hospitality of radical otherness promoted by Derrida throughout his discussion.

     

    In order to configure the question of friendship as a hypothesis about turning one’s back, about “facing” back to front, where “hypothesis” is itself understood in the similarly choreographic sense of a turning towards a positionality, we will need to work through the complicated rhetorico-philosophico-political formulations, and compounding abyssal enfoldings and reversals of Politics of Friendship. For, as Derrida makes explicit in the first of the many parenthetical insertions within his text that will ultimately become the focus of my reading, in “striving to speak . . . in the logic of [Aristotle] . . . doing everything that seems possible to respect the conceptual veins of his argumentation,” one finds oneself changing the tone and embarking upon “some slow, discreet or secret drift” that is undecidably “conceptual, logical or properly philosophical” rather than “psychological, rhetorical or poetic” (13).

     

    A first set of rhetorico-conceptual junctures in Politics of Friendship may be identified simply as turns, beginning with the pivotal role given to that epigraph of doubtful origin–“O my friends, there is no friend”–and with the epigraph itself. The reader is led through versions the motto borrows in context after context and from the pen of writer after writer. As Derrida emphasizes, this maxim by means of which friendship is analyzed is a trope (a rhetorical “detour”) that is itself a turning. “O my friends” constitutes an example of the figure called “apostrophe,” that singular form of address that involves, as explained in the preface to The Post Card, “a live interpellation (the man of discourse or writing interrupts the continuous development of the sequence, abruptly turns toward someone, that is, something, addresses himself to you)” (4); or, as repeated here: “this impulse by means of which I turn towards the singularity of the other, towards you, the irreplaceable one” (5, emphases added).4

     

    However, “O my friends, there is no friend” in turn turns within itself. It has the form of a chiasmus, whose two parts intersect by means of a reverse impulse. The end of the saying comes around and back to meet its middle, creating an imperfect symmetry, such that it could be rewritten “O my friends, friend there is none.” But this chiasmic structure, that of a folding back, gets compounded once Derrida draws attention to the alternative version of the expression, where the initial omega of the Greek “original” is accented to shift from the simple vocative interjection of an address to “my friends,” to a dative. “O my friends” thus becomes something like “he for whom there are (many) friends,” and the full sentence shifts to mean “he who has (many) friends can have no true friend.” Derrida nicknames the latter version the repli (209), translated as “recoil,” which is one of its senses, but which loses the nuance that matters to me here, that of a folding back or turning in upon itself. “Recoil” does, however, suggest the somewhat vertiginous series of twists (Derrida will later call it a “zigzag” [221]) along which the motto is deployed throughout the 200-odd pages of analysis.

     

    To summarize: a trope (rhetorical turn) that is an apostrophe (turn to a single addressee) borrows the form of a chiasmus (a syntagm that turns back on itself) whose exact version (L. vertere, “to turn“) is uncertain, potentially diverting or turning its sense, or at least creating a further turn or chiasmus (Derrida’s word, 213) between its two forms. But what is all the more telling about the attention given to the alternate rendition and reading of the “O my friends” maxim is, it seems to me, the reflective and almost cautious manner in which Derrida introduces it, the explicit reference he makes to the rhetorical ploy or gesture that he is thereby advancing. I am referring simply, for the moment, to the fact of that reflection and caution–I will later return to examine their substance–and to the gestures of rhetorical, exegetical, and scriptural intervention that they represent as yet another turn in the abyssal layerings that striate through the book. I mean that above and beyond his “discovering” another version of the maxim, or his reading of that version, Derrida pays particular metadiscursive attention to the means by which his reading is being deployed. More on that shortly.

     

    A second set of gestures in or movements of Derrida’s text may be characterized as reversals. However difficult it may be to conceive of a pure linear movement, we nevertheless understand a turn to be by definition disjunctive, a shift away from the straightforward, and the chiasmus of “O my friends, there is no friend” reinforces that. Derrida begins chapter one of Politics of Friendship by emphasizing the contretemps of the “two disjoined members of the same unique sentence” (1). Such a contretemps works against any reciprocality that the figure of the chiasmus seems to imply. In spite of producing a type of symmetry, necessarily imperfect except in the case of a palindrome, and in any case given the two opposing directional movements, the chiasmus involves a disjunctive force that allows, potentially at least, for substitution and reversal. The folded back second half of the syntagm sets itself up in competition with the first half, overlaying what precedes and effectively having the last word. Indeed, substitute and reverse is precisely what the maxim does, the “no friend” of the second part substituting for and reversing the “my friends” of the beginning.

     

    More such reversals are to come. Aristotle, we read, breaks with the reciprocality of friendship, its two-way traffic (“the reciprocalist or mutualist schema of requited friendship” [10]) to argue for a preference of loving over being loved (or liked). Since one can be loved without knowing it, and since in general terms it is better to be the active party, preference is given to the one doing the loving, and this makes for what Derrida calls “the necessary unilaterality of a dissymmetrical phileîn” (23-24). Now while that perhaps says more about Aristotle’s conceptions of activity and passivity than about friendship (“Being-loved certainly speaks to something of philía, but . . . . It says nothing of friendship itself” [8]), it nevertheless describes a friendship, “friendship itself,” true friendship, that would have to contend with two equally perplexing alternatives: the seeming impossibility of two active parties without any object for that activity, two parties loving each other without being loved one by the other; or a friendship that remains one-sided or lopsided, where only the active party is defined as a friend. Indeed, still following Aristotle, a true friendship would be one that was lopsided to the extent of preferring love for the dead or departed. The activity of friendship that makes true friendship, dependent as it is on the breath of a living, active soul, is, at the outside (an outside that becomes its innermost possibility), dependent upon death and mourning: “Friendship for the deceased thus carries this philía to the limit of its possibility. But at the same time, it uncovers the ultimate motive of this possibility. . . . I could not love friendship without engaging myself, without feeling myself in advance engaged to love the other beyond death. Therefore, beyond life” (12). It therefore looks as though the Aristotelian logic has reversed the supposed reciprocality of friendship to make it unilateral or unidirectional, and substituted a dead object for its living one.

     

    Nietzsche, in typical fashion, gives his own series of twists to the question. The first is that of volume one of Human All Too Human, where, as a riposte to the dying sage’s “Friends, there are no friends!” the living fool retorts “Foes, there are no foes!” (148-49, 274). For Derrida, the reversal constituted by this inversion or conversion, a simple substitution of the foe for the friend, “would perhaps leave things unaltered” (175). Another version, that of the “good friendship” described in the Assorted Opinions and Maxims, involves instead a more complicated “rupture in reciprocity or equality, as well as the interruption of all fusion or confusion between you and me” (62). But when Nietzsche writes in honor of friendship in The Gay Science, it is by means of a fable of a Macedonian king and an Athenian philosopher and is articulated through the logic of the gift, with all the disproportion or impossibility of any equilibrium of giving and receiving that that implies (72). Derrida refers to such a rupture as “a new twist, at once both gentle and violent,” one that “calls friendship back to non-reciprocity, to dissymmetry or to disproportion” (63) and whose stakes are high, for it leads him directly into the heart of the aporetic “madness” of the chance of friendship, as of decision, justice and democracy.

     

    Once again, as it were beyond the reversals uncovered in the maxim, or in Aristotle or Nietzsche, Derrida enacts something of a reversal of his own with respect to the disjunctions or dissymmetries at work in the elaborations of friendship he is analyzing. And this takes place precisely with respect to the distinction between friendship and love, along the faultline separating philía from eros (to the extent that one can presume that to be the distinction between friendship and love, to the extent that love can be conceived of as non-erotic) in any case, in the trembling of those differences. As we have just seen, he underlines what, in certain cases at least, appears undeniably as the disjunctivity and dissymmetricality of friendship. But then, in the context of his analysis of the other possible version of Aristotle’s or Diogenes’s maxim, he calls upon that very disproportionality to distinguish love from friendship:

     

    The request or offer, the promise or the prayer of an 'I love you', must remain unilateral and dissymmetrical. Whether or not the other answers, in one way or another, no mutuality, no harmony, no agreement can or must reduce the infinite disproportion. . . . Here, perhaps, only here, could a principle of difference be found--indeed an incompatibility between love and friendship . . . supposing such a difference could ever manifest itself in its rigorous purity. . . . Simply put, friendship would suppose . . . the phenomenon of an appeased symmetry, equality, reciprocity between two infinite disproportions as well as between two absolute singularities; love, on the other hand, would raise or rend the veil of this phenomenon . . . to uncover the disproportion and dissymmetry as such. . . . when one names the friend or enemy, a reciprocity is supposed, even if it does not efface the infinite distance and dissymmetry. As soon as one speaks of love, the situation is no longer the same. (220-21, translation modified; Politiques 248-49)

     

    The logic here is complicated, and sets up a reverberating reversal between two sides of an opposition that functions as if in permanent imbalance, like some spinning machine that causes the whole apparatus to wobble. Love is unilateral whereas friendship is less radically dissymmetrical. Friendship presents a reciprocity where two infinite disproportions have made peace (une réciprocité apaisée), whereas, for its part, love rends the very veil of dissymmetry. But this difference, or indeed incompatibility between love and friendship, is itself “appeased” inasmuch as the rigorous purity of the difference between the two cannot be presumed. It is as if between love and friendship there were either a relation of love (disproportion or incompatibility) or of friendship (appeased reciprocity), and so on into the abyss, for each of the terms subdivides within itself ad infinitum.

     

    But Derrida’s reversal here is radical in another way. If love is to be distinguished from friendship, he maintains that it will be in terms of the question of reciprocity. As a result, “I love you” is spoken into a type of void, performed as a promise or prayer to which one cannot expect an answer. We might therefore imagine it turned around to the extent of being uttered from behind, so that even were one to proffer a response, even a symmetrical “I love you (too),” it would also be spoken into a type of emptiness in front of one. Derrida seems to suggest that it is only by means of the disproportionality of love that friendship can be taken out of a Schmittian schema of amity and enmity and liberated from that version of the political; only by that means can one gesture toward a different politics, one of promise. But, if my analysis of his logic is correct, this will mean preserving and at the same time breaking down the distinction between friendship and love, dragging friendship, as it were kicking and screaming, across an abyssal incompatibility that is perhaps not rigorously pure, and into the dissymetricality of love. I doubt one could successfully choreograph such a rhetorical pirouette without having it teeter like an imbalanced spinning top, and fall. But any attempt to do so, and any movement toward a new politics informed by either love or friendship or both, would necessarily involve, like a fleeting glimpse or a languid caress, a relation of front to back. There at least one could begin to see friendship and wait for love in terms of a dissymmetry that did not for all that fall into an impossible contortion.

     

    A twist or turn, even a torsion, without for all that being an impossible contortion. That would be the risk and wager of a politics of friendship that reckons with the dorsal. So it is also with the practice of deconstruction. We will have spent our professional lives trying to account for the difficult protocols of intervention within textual form and substance undertaken by such a reading practice, trying to determine what particular twists Derrida gives to the texts he is examining, how and to what extent he either identifies or “causes” the effects of stress on the basis of which the text says, is heard, let, or made to say more than it wants to. Since the exorbitance of the methodological question raised with respect to the analysis of Rousseau in Of Grammatology we have had those questions before us. This essay has, up to this point, operated on the basis of certain presumptive answers to those questions, purporting to distinguish between turns or reversals that can be identified as relying on the rhetorical gestures of here an Aristotle, there a Nietzsche, there a Derrida.

     

    However, there appears to be a surplus of methodologically reflective moments in Politics of Friendship, and a multiplication of forms borrowed by such moments in the text. Most obvious, even if only typographically–no small thing, however–are the multiple parentheses, emblematic of a variety of interruptions, glosses and diversions, interventions that can only be described, in the context of this discussion, and of the book, as “apostrophic.” I am referring here only to those parentheses that are set apart in the text as separate paragraphs, there where the normal flow of the text is interrupted by a smaller or larger section that appears within parentheses. There are also any number of parentheses doing what one might suppose to be normal duty within the text, adding short clarifications with minimal disruption to the reader. At one point, following a slew of those putatively minor or everyday parenthetical insertions, Derrida writes, “And let’s not talk about the parentheses, their violence as much as their untranslatability” (221, translation modified). Given that reference to violence and untranslatability, and since, in the final analysis, the everyday parentheses differ only in size and not in kind from the larger inserted paragraphs or sets of paragraphs, we would have to remark the structural violence of any parenthetical insertion as a preface to what I am about to develop.

     

    The larger, “apostrophic” parentheses begin in the Foreword with a polylogue of four discursive units (x), and continue throughout the text, ranging in length from a single line (70) to twelve pages (in the French) (Politiques 178-88) or more (I’ll come back to that “or more” in a moment). I counted twenty-six of them. Two of them use (square) brackets rather than (round) parentheses, and one of those says as much, although it imputes them, syntactically at least, to Montaigne, something that gets lost in translation.5 Their content varies enormously and it is difficult to determine the precise logic that justifies them. Sometimes they constitute digressions that are perhaps too long for a footnote, but that has never been an objection for Derrida in the past. Sometimes they are reminders of previous points in the discussion, sometimes openings to other questions. Some of them, uncannily, deal with the question of the female friend or the sister to whose exclusion or marginalization from philosophical discussions of friendship the book explicitly wants to draw attention.

     

    Still others, and these are the ones that interest me most, fall into the category of “questions of method” à la Grammatology. Thus there is the reference to the “respect” for Aristotle that nevertheless involves “some slow, discreet or secret drift” (13) that I quoted earlier. In the following chapter there appears a similar admission of a complicated logic of fidelity to Nietzsche: “(Of course, we must quickly inform the reader that we will not follow Nietzsche here. Not in any simple manner. We will not follow him in order to follow him come what may” (33). At a particularly apostrophic moment in Chapter 3, Derrida declares “that is all I wanted to tell you, my friend the reader” (70). And, much later, he inserts a perhaps unnecessary reminder that “we have not privileged the great discourses on friendship so as to submit to their authority . . . but, on the contrary, as it were, to question the process and the logic of a canonization . . . . paying attention to what they say and what they do. This is what we wish to do and say” (229, emphasis added). Such meta-discursive glosses, however, do not always appear within parentheses, that is to say as interventions circumscribed by a pair of conventional, round diacritical marks. Indeed, not only is there extensive explanation of the methodological protocols in play throughout the analysis of the repli version of “O my friends,” but one needs to ask whether, following Derrida, one could ever hope to distinguish rigorously between the constative and performative elements of any commentary–indeed any text–distinguishing what it says in general, and what it says about what it is doing in particular, from what it does. As we just read, Derrida does or says both (what he says and what he does) in the same breath.

     

    Or in a slightly different breath. The matter of the two versions of the “O my friends” maxim turns precisely on the question of breathing, of aspiration, and of the diacritical textual intervention–a subscript iota–that would mark the same in the Greek: “it all comes down to less than a letter, to the difference of breathing” (209). On the basis of the way a single omega is written, with or without the subscript iota denoting an aspirate, a whole philosophical tradition can be reassessed, including, one has to presume, its distinction between constativity and performativity. On the basis of what Derrida earlier calls “a philological sidetracking” (177)–in French un mauvais aiguillage philologique (Politiques 201), bad directions, bad shunting, bad philological flight control, an inattentive switch from one track or corridor to another–there is potential accident and catastrophe. But we have to understand that almost imperceptible difference as also a formidable chance, the chance of a whole other text, a whole other reading, and a whole other tradition for the questions, for friendship and politics. By the time Politics of Friendship gets to it, therefore, it is difficult to tell who is taking credit for it, and that can perhaps no longer be the question:

     

    The time has perhaps come to decide the issue [trancher]. . . . a tiny philological coup de théâtre cannot prevail in the venerable tradition which, from Montaigne to Nietzsche and beyond, from Kant to Blanchot and beyond, will have bestowed so many guarantees on the bias of a copyist or a rushed reader by, without knowing it, staking a bet on a tempting, so very tempting, reading, but an erroneous one, and probably a mistaken one. Luckily for us, no orthographic restoration or archival orthodoxy will ever damage this other, henceforth sedimented archive, this treasure trove of enticed and enticing texts which will always give us more food for thought than the guard-rails to whose policing one would wish to submit them. No philological fundamentalism will ever efface the incredible fortune of a brilliant invention. For there is here, without doubt, a staggering artifact, the casualness of an exegetical move as hazardous as it is generous--indeed, abyssal--in its very generativity. Of how many great texts would we have been deprived had someone (but who, in fact?) not one day taken, and perhaps, like a great card player, deliberately feigned to take, one omega for another? Not even one accent for another, barely one letter for another, only a soft spirit [esprit, breath, aspirate] for a hard one--and the omission of the subscript iota. (207-208; Politiques 234)

     

    If I have quoted this paragraph almost in its entirety, it is because, if space permitted, I would dearly love, passionately, in and beyond friendship, to compare it with those famous pages on Rousseau from Of Grammatology (157-60), to see how far deconstructive reading practice had or had not evolved over the preceding thirty years of its history, and to assess the current rapport de forces between “philological fundamentalism” and “invention.” But that will have to keep. Suffice to emphasize here that the glosses that punctuate or apostrophize the analysis of the version de repli–“where are we heading?” (214), “does one have the right to read like this?” (216), “it is . . . [the temptation] of the book you are reading” (218), “our objective was not to start down this path” (220)–have to be considered to be as much a part of the analysis as the rest. Perhaps they are the very constative part of it, to the extent that they deal with the question of analysis as analysis, and perhaps an analysis that does not deal with its own status, that simply presumes to be able to (con)state, reduces to a pure performative. In any case, those glosses, along with the abyssal twists, torsions and openings, that go all the way from an almost inaudible “i” to lengthy parenthetical excursus, inhabit finally the same structural space of possibility, the same rhetorico-political space as the “risk,” chance or wager of the “perhaps” and more properly philosophical questions–event, aimance–around which Derrida’s text turns. All such questions derive from minute but uncontrollable textual ruptures, intersecting apostrophically with the secrets or silences of philological chance or accident, with the brilliant inventions of an insignificant stroke of the pen, the slight torsion or curvature of a line that produces or introduces the beginning of a parenthesis of untold promise.

     

    The “perhaps,” for example, emerges from Nietzsche’s Human All Too Human and is first developed in the second chapter, whose title (“Loving in Friendship: Perhaps–the Noun and the Adverb” [26]) suggests that it again opens a faultline between love and friendship. It is presented from the beginning as something to which we must be particularly sensorially attentive: “Let us prick up our ears [Tendons l’oreille] . . . towards this perhaps, even if it prevents us from hearing the rest” (28; Politiques 45). The “perhaps” is then described as an “unheard-of [inouïe], totally new experience” (29; Politiques 46), where the adjective inouïe refers, in its literal sense, even more directly than does the English “unheard-of” to the impossibility of being perceived by the organ of hearing. Finally its operation is said to depend on its “hold[ing] its breath” in order to “allow what is to come to appear or come” (29), making the perhaps perhaps comparable to a quasi-inaudible aspirate. At the least we could say that it relates to what is on the edge or outside of earshot and of vision (“prick up our ears . . . allow what is to come to appear”). Now if we were to try to figure or configure that according to our choreographic principle, we would have to imagine its occurring by means of a friendship or love relation that was other than the simple face to face, yet not so fractured as not to constitute a relation. It would be a function of friendship or love that operated in or across a type of sensorial peripherality, something that could occur once ears and eyes were required to deal with what was taking place outside of their normal frontal hemispheric field, once they had to deal with what comes from behind, required to see, listen to, indeed feel–like uneven breathing on the nape of the neck–what is dorsal.

     

    It would be quite a turnabout. For not only does the perhaps interrupt and disjoin “a certain necessity of order,” but “this suspension, the imminence of an interruption, can be called the other, the revolution, or chaos; it is, in any case, the risk of an instability” (29). The perhaps, to say the least, turns things around, and perhaps changes everything. It is said here to occur to Nietzsche “in the upheaval of a reversing catastrophe” (30), and is later referred to as a “catastrophic inversion” and “reversing apostrophe” (50). The word translated as “reversing” in both cases just mentioned is renversante (Politiques 48, 69), suggesting in the first place a radical overturning, but including overtones of disorientation, change in direction, backwards movement (for example, in the expression tête renversée, head bent back as in ecstasy, or écriture renversé, writing that slopes backward). For Derrida also says explicitly that he is talking about “something other than a reversal [renversement]” (31; Politiques 49).

     

    Perhaps then, a catastrophe that is also a chance, an apostrophe that overturns without for all that simply reversing. Both “catastrophe” and “apostrophe” should be heard in more than one sense: a climax or cataclysm but also a change in poetic rhythm or stress, an interruption in favor of a single addressee but also an ellipsis. Some minimal thing that changes everything in the context of a philosophical discussion of love and friendship marked by persistent parenthetical attention to its methodological principles, that would seem to be what we are looking for as we read Politics of Friendship. On the basis of that, let me try, if not to draw a conclusion, to draw something in conclusion.

     

    As I previously made clear, apostrophe as discursive interruption and readdress is a conceit of “Envois” in The Post Card, playing as that text does across the face-off between a singular private loved one [toi] and just any reader [vous]. But apostrophe as punctuation that represents a textual omission also functions in “Envois” by means of the blank spaces in the text whereby, one might suppose, the most intimate pieces of the correspondence, the most apostrophic apostrophes remain undisclosed, excised, censored. As a result of that, perhaps, there is a parenthesis in “Envois,” about which I have written at length elsewhere, that opens but never closes.6 But the possibility of the text’s being irremediably or irredeemably opened already exists as soon as there is apostrophe, or any punctuation whatsoever. Indeed, any mark whatsoever, any barely inaudible breathing effect whatsoever. The principles of iterability, detachability, and substitution which determine that fact are explicitly repeated, in formulations echoing very closely those of “Signature Event Context,” within the analysis of the version de repli discussed above: “every mark has a force of detachment which not only can free it from such and such a determined context, but ensures even its principle of intelligibility and its mark structure–that is, its iterability (repetition and alteration)” (216). And, as develops a couple of pages further along (219), iterability also means undecidability, the motor and fulcrum of Derrida’s ethics and politics.7 So this is no ordinary or simple nexus. Everything hinges on it.

     

    One reason I have kept on reading Jacques Derrida’s writing since 1980 is in the hope of finding an end to the parenthesis he opens in The Post Card. And I would like to think that the reason he has kept on writing has been because he has been looking for just the right place to bring it to a close. So I was heartened to see the multiplication of parentheses in Politics of Friendship and I searched carefully for an amicable end to the violence of that moment from The Post Card. I searched for a westward-facing arc to match the easterly one of the text from fifteen-odd years before, for the closure of two parenthetical faces, face to face and smiling like an e-mail abbreviation, to resolve the unilateral challenge or ultimatum of that opened parenthesis. Instead, sadly, I am faced with a serious case of recidivism. On page 58 of Politiques de l’amitié, Derrida opens a parenthesis and writes “Let’s leave this question suspended” (Politics 38). He never closes it. The English translation follows the French to the letter, or at least to the absence of a “).” Suddenly the “(” of 1980 is inexorably drawn in to the context of the “(” of 1994. Two massive bodies of text slide into some sort of compromising position. There they are, henceforth, for me at least, side by side, or rather front to back, “( . . . (.”

     

    I’m tempted to say that they come to exist in aimance. Aimance, which is somewhat unfortunately translated as “lovence,” is a term Derrida borrows from Abdelkebir Khatibi (7) to deconstruct the opposition between love and friendship, between passive and active, to mean something like “lovingness.” Unable to “take place figurelessly” (69), it is said to “cut across . . . figures” (70), to be “love in friendship, aimance beyond love and friendship following their determined figures, beyond all this book’s trajectories of reading, beyond all ages, cultures and traditions of loving” (69). The gesture of two unclosed parentheses is thus made, in the first place, towards a figure of that sort of lovingness. But it is also, obviously, a figure of catastrophic inversion, a disruption of the symmetry and closure of a love or friendship that is presumed to function only in the face-to-face, and which therefore remains open to the politics of enmity presumed by a Schmitt. For that figure to be fully drawn, there would have to be more specific reference to an erotics of corporality such as I have just been suggesting, a problematization that extended not just to the distinction between friendship and love, but, presuming it is not already implied, to that between philía and eros. In contrast to the face to face, the back to front relation, or embrace, is more difficult to conceive of outside of an erotics; the rhetoric of its figural pose cannot but refer, at least in part–both because of the version of intimacy it represents, and because of its trangressive turn–to a carnal embrace.

     

    I would argue that Derrida allows for that in the very metadiscursive parenthesis without parentheses within his analysis of the version de repli where he speaks of the violence and untranslatability of parentheses (221). The parentheses he is referring to might as well be the two I have just brought into proximity across the texts of The Post Card and Politics of Friendship; their proximity might be said to draw a figure of them, of their very violence and untranslatability. For, as I have already pointed out, the same paragraph in which he refers to them comes back to the unilaterality and dissymmetry of the “I love you” that was said to perhaps be the only difference between love and friendship, the interruption of reciprocity that must imply some turning, some détournement of a presumed face to face of the same.

     

    That would be the force of an “I love you” spoken from behind. It would involve a catastrophic turning “towards” the other that means turning one’s back, something like the passive decision that Derrida describes at length (68), a patience in no way reducible to passivity, an act of trust that lets the other come in the figure of surprise that one might contrast with the economics of an appropriative pre-emption that, we are reminded only too well these days, is increasingly the single permissible version of political discourse and practice. This love, friendship, and politics of dorsality would also involve the principle of substitutability; it comes to function immediately anything like an “I love you” is proffered, immediately a singularity of address is determined, immediately the supposed general discursivity of the text is interrupted, a parenthesis opened, immediately there is any apostrophic turning whatsoever: “would the apostrophe ever take place, and the pledge it offers, without the possibility of a substitution?” (5). Turning one’s back allows the other to come as other to the other, as other other, as another other.

     

    And so this love, friendship, and politics of dorsality is finally what I’ll dare to call a love, friendship, and politics of prosthesis in order to allow for the scandal or chance of a love, friendship, and politics of the inanimate. A prosthetic politics that would perhaps be more productive a concept than a posthumanist politics. From the beginning of Derrida’s book, friendship has had to be understood within the structure of revenance and survivance, of spectrality and inanimation. Derrida refers to a “convertibility of life and death” (3), to the fact that, after Aristotle, “one can still love the deceased or the inanimate,” and that it is through the possibility of such loving–whose directionality I am letting turn here so as not to limit it–that “the decision in favour of a certain aimance comes into being” (10). And again, in the same passage where the incompatibility of love and friendship is described in terms of the dissymmetry I have been insisting on, Derrida writes of the “non-assurance and . . . risk of misunderstanding. . . . in not knowing who, in not knowing the substantial identity of who is, prior to the declaration of love” (220), which I read also as not knowing the substance that distinguishes the identity of a who from that of a what. And finally, at the end, we are asked “to think and to live the gentle rigour of friendship, the law of friendship qua the experience of a certain ahumanity” (294).

     

    A prosthetic love and friendship, erotics and politics should be understood as something different from a raising of the stakes of non-identity or de-subjectivation, different from taking things beyond the human, even beyond the animal, to the inanimate. Prosthesis refers for me not to the replacement of the human by the inanimate but to the articulation of one and the other. So such a love and friendship, erotics and politics would, as we saw to begin, break with the naturalness of the supposed homogeneity of those concepts; it would, from the perspective of an always already prosthetic, allow us to begin to think the subject of love and friendship, erotics and politics in its biotechnological becoming, to think the radically inconceivable otherness of the other as coming upon and coming to bear upon, a being let come upon and let come to bear upon the sameness of a presumed reciprocal relation; and it would be the trust required to let that come, behind one’s back, unable to be known, in the confidence of an unrestricted hospitality, in a fiduciary relation reaching toward or arching back upon the possibility of a friendship and a politics at once unheimlich and aneconomic. Such a love and friendship, erotics and politics would encourage us to think detachment, substitution, dissymmetry, disjunction, letting come the interruption of an apostrophic or parenthetic reversing catastrophe, the figure of a double retrait in torsion, ((, a coupling, if that is what it is, whose only ending would be another opening, to another.

     

    Notes

     

    1. Further references to the English translation will be included in parenthesis in the text, preceded where necessary by the mention “Politics,” and in some cases followed by reference to the French original (Politiques).

     

    2. Earlier in the project from which this work is extracted, I analyze the “dorsality” of Lévinas’s ethical relation, and before that Heidegger’s work on technology. The latter appears as “Thinking Back: Towards Technology, via Dorsality.”

     

    3. In French, “Replis.” See my discussion below.

     

    4. Comparisons can be made between the figure of apostrophe favored by Derrida and the Althusserian “interpellation,” that moment or structure of the constitution of the subject as ideological and political, something I develop in the final chapter of the forthcoming Thinking Back.

     

    5.”[Convenance, inconvenance. Digression. Soit dit entre crochets, Montaigne tire la plus audacieuse et la plus incontestable consequence . . .” (Politiques 203, emphasis added). Inelegantly preserving the French syntax, this would transliterate as: “[Suitability, unsuitability. Digression. Said/speaking, as it were, within brackets, Montaigne draws the most audacious and the most uncontestable consequence” Cf. Politics 178: “[A digression here, remaining between square brackets, on suitability, unsuitability. Montaigne draws the most audacious and the most uncontestable consequence.”

     

    6. See my Prosthesis 286-318.

     

    7. Cf. “Signature Event Context.” For discussion of iterability/undecidability as aesthetics/ethics nexus, see “Lemming,” in my Matchbook: Essays in Deconstruction.

     

    Works Cited

     

    • Barthes, Roland. A Lover’s Discourse: Fragments. Trans. Richard Howard. New York: Hill and Wang, 1978.
    • Derrida, Jacques. Of Grammatology. Trans. Gayatri C. Spivak. Baltimore: Johns Hopkins UP, 1974.
    • —. The Politics of Friendship. Trans. George Collins. London: Verso, 1997.
    • —. Politiques de l’amitié. Paris: Galilée, 1994.
    • —. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago: U of Chicago P, 1987.
    • —. “Signature Event Context.” Margins of Philosophy. Trans. Alan Bass. Chicago: U of Chicago P, 1982. 307-30.
    • Nietzsche, Friedrich. The Gay Science. Trans. Josephine Nauckhoff. Cambridge: Cambridge UP, 2001.
    • —. Human All Too Human: A Book for Free Spirits. Trans. R.J. Hollingdale. Cambridge: Cambridge UP, 2004.
    • Wills, David. Matchbook: Essays in Deconstruction. Stanford: Stanford UP, 2005.
    • —. Prosthesis. Stanford: Stanford UP, 1995.
    • —. “Thinking Back: Towards Technology, via Dorsality.” Parallax 10.3 (July-September 2004): 36-52.

     

  • Performative Mourning: Remembering Derrida Through (Re)reading

    Vivian Halloran

    Comparative Literature Department
    Indiana University, Bloomington
    vhallora@indiana.edu

     

    On 9 October 2004, Jacques Derrida became “irreplaceable” through his death, a gift (don) which was never his either to give or take, as he argues in The Gift of Death, but which nonetheless ensures the self’s passage into individuality because of its very irreproducibility. No one but Jacques Derrida could have died Jacques Derrida’s death, and even he could only go through this experience once. So definitive is the break Derrida sees between life and death, and so unique does he consider the instant of one’s death, that when he reads The Instant of My Death, Blanchot’s third-person narrative of his near-execution at the hands of a Nazi Russian firing squad in 1944, in Demeure, Derrida concludes that “when one is dead, it does not happen twice, there are not two deaths even if two die. Consequently, only someone who is dead is immortal–in other words, the immortals are dead” (67). While this conception of death affirms the negative gifts death gives the individual who dies–immortality (the inability to die) and irreplaceability (the impossibility of having an Other fulfill the duties and/or functions of the Self)–Derrida’s view of death is also strangely positive: a person’s death becomes the most defining aspect of his or her life since that, in its way, can be thought of as a long process of dying the death he or she is going to die eventually. For Derrida, the timing of a person’s unique death is extremely important because it cannot be repeated. He considers Blanchot’s “life” after the unexperienced experience of his assassination in 1944 as a mere “moratorium of an encounter of the death outside of him with the death that is already dying in him,” and continues to affirm that the French writer’s death happened at that very instant, despite his un-dying (Demeure 95). The most concrete instance of mortality Derrida reads in Blanchot’s brief text is the disappearance of a manuscript that was inside his house at the time of the execution that did not take place. Calling it a “mortal text,” Derrida contends that its loss is equivalent to “a death without survivance” (100). In the essay that follows, I look at a different way through which Derrida experienced an encounter of the deaths outside of him with the death that was already dying in him: by mourning his friends, colleagues, and mentors through a public performance of (re)reading their texts after the occasion of their deaths. Because the texts the deceased left behind have not been lost, like Blanchot’s fateful manuscript, Derrida gives them, if not his friends, an element of survivancethrough the concerted act of (re)reading.

     

    Derrida’s meditation on the individuating effect of the experience of death in his reading of Czech philosopher Jan Patočka’s Heretical Essays on the Philosophy of History can be interpreted both as an enactment of mourning for Patočka, who died in 1977, and as a recognition of the impossibility of writing about the other’s experience of death: “Death is very much that which nobody else can undergo or confront in my place. My irreplaceability is therefore conferred, delivered, ‘given,’ one can say, by death” (Gift 41). As Derrida points out, the paradox inherent in regarding death itself as a gift, yet not a present (29), lies in its uniqueness and irreproducibility for a given individual–death does not function as currency in a social economy of exchange as Marcel Mauss argues other types of gifts do in Essai sur le don. But by imagining the eventual fulfillment of his own future individuation through the prism of his always already impending death, Derrida takes death on credit, so to speak–he claims the benefits of it by memorializing himself before he has paid the price of ceasing to live.[1]

     

    Two insurmountable aporias separate the potentially replaceable, introspective then-living Jacques Derrida from the now-defunct-but-irreplaceable Jacques Derrida: the metaphysical and the rhetorical. Through his own death, Jacques Derrida forever stops experiencing Jacques Derrida’s other deaths: those of his friends. He finally stops carrying out the work of mourning inherently demanded by every relationship, even as his still-living others–his family, his friends, his readers–begin the endless process of mourning (for) him. In (re)reading his various texts on the religious, social, and symbolic functions of death and mourning, we can both duplicate Derrida’s performance of the debt of mourning owed to the dead and also begin to appreciate the wholeness of his written oeuvre as a finished work, much as he urges his audiences to do to the oeuvres of the writers he memorializes.

     

    Would-be mourners can negotiate these aporias through performing or carrying out the task that Derrida, convinced of the impossibility of mourning the dead through speaking either about or directly to them, sets for himself in both The Gift of Death and The Work of Mourning: (re)reading the texts of the deceased as a fitting way to honor their memory. Derrida’s ethics of mourning-by-(re)reading present a non-violent internalization of the (text of the) other distinct from the “interiority” (Gift 49) that Penelope Deutscher calls his cultural cannibalism, his “eating of the other” (163). Derrida’s self-reflexive mourning addresses itself to the other-within-the-self, thereby avoiding falling into cannibalistic narcissism. In his various texts of mourning, Derrida instead assumes the rhetorical stance of the survivor bearing witness who acknowledges the impossibility of ever again addressing himself to the now-dead friend. Instead of speaking for or to the internalized other, he prefers to repeat a previous act of engagement with the written (body of) work of the other. I shall mourn Derrida by analyzing how he defines his own role as an ethical friend-in-mourning through (re)reading, an act which engages him simultaneously in a personal recollection, a private introspection, and a public performance of witnessing and scholarship. I pay particular attention to three texts contained in The Work of Mourning: Derrida’s (re)reading of Barthes’s theory and performance of mourning-as-grieving through photographs in Camera Lucida and Roland Barthes by Roland Barthes in “The Deaths of Roland Barthes”; his performative (re)reading of de Man’s last letter to Derrida, where the former reads his affliction/diagnosis as a death sentence in “In Memoriam: Of the Soul”; and his meditation on the unexpected emotional impact that reading Louis Marin’s posthumous book, Des pouvoirs de l’image: Gloses, has on him in “By Force of Mourning.” Seizing on repetition as the mimetic model par excellence of carrying out the work of mourning, in this essay I mourn the mourning theorist as well as the theorist of mourning who, in turn, mourned those who had not only enacted mourning themselves through their texts, but who were mourned by the texts themselves in their posthumous publication.

     

    The specificity of the death of the other, the manner through which each meets his or her end and becomes irreplaceable, haunts both The Work of Mourning and The Gift of Death. The editors of each volume seek both to intensify and to remedy this sense of haunting by filling the gap of information left by Derrida’s texts of/in mourning. In his “Translator’s Preface” to The Gift of Death, David Wills not only informs his readers of Czech philosopher Jan Patočka’s role as a contemporary and collaborator with Vaclav Havel and Jiri Hajek; he also goes so far as to establish the fact of Patočka’s death and the manner in which it came to pass: “He died of a brain hemorrhage after eleven hours of police interrogation on 13 March 1977” (vii). In this way, Wills overdetermines the Derridean text that follows his preface as an enactment of mourning, where the living Derrida engages the work of the dead Patočka who wrote on the topic of death. The preface also overdetermines the function of the reader as an a priori mourner for a dead writer from whose works she or he is now forever displaced through and by Derrida’s own reading of Patočka’s essay on death, “La civilization technique est-elle une civilization de decline, et pourquoi?” No innocent reading of it is possible, just as Derrida’s own discussion of Patočka’s text is always already unable to engage in a dynamic dialogue with the Czech writer. Precisely because of the death he mourns through writing of his (re)reading, Derrida cannot engage in a textual conversation like the one he carries out with Emmanuel Levinas in his “Violence and Metaphysics” and Levinas’s Otherwise than Being.[2] The intertextuality of The Gift of Death can be read as an enactment of mourning through the performance of (re)reading: in this text, Derrida mourns a fellow writer as a writer or, even, as his text, instead of claiming Patočka as an internalized lost friend.

     

    Nowhere in his published letters, eulogies, and memorial speeches does Derrida explicitly address the manner of death of those he mourns–a marked silence, given how much introspection and self-conscious reflection upon mourning goes on within a text that does nothing but mourn the loss of another. The only death Derrida discusses in detail in The Gift of Death does not actually take place: Abraham’s would-be murder of his son Isaac.[3] Derrida’s delight in analyzing Isaac’s unrealized death, as well as his refusal to mention the circumstances surrounding the death of his friends, have the cumulative rhetorical effect of displacing the event of death itself from the occasion for mourning. By invoking Kierkegaard’s image of a trembling Abraham disregarding ethics and familial love out of a sense of obedience he owes God, Derrida convincingly demonstrates that the work of mourning begins even before the fact of death has been established. Since Abraham’s plight is a direct result of God’s expressed desire to test his servant’s loyalty, Isaac’s looming death never actually enters into the gift economy both Patočka and Derrida invoke. Isaac has no explicit knowledge of the violence that threatens to befall him, so he has no time to interpret his coming death as a potential “gift” to him from God. Abraham pays the emotional toll of being asked to sacrifice his son, but even then what makes him tremble is not the fear of his own death and final judgment, but the guilt of occasioning the death of an/other that weighs him down. Both Kierkegaard and Derrida use kinship as a metaphor through which to investigate the obligation and responsibilities humans owe to God the Father in metaphysical and religious accounts of death within the economy of sacrifice of/for the divine Other.

     

    While Derrida’s reference to Abraham’s sacrifice of Isaac contextualizes the discussion of death and mourning within a family setting, his conception of dying-as-a-gift is profoundly personal and individual; he insists on the relational nature of mourning as a process. Derrida’s meditation on the importance and relevance of the work of mourning grows out of his discussion of friendship rather than of familial relationships. In The Gift of Death, he confesses,

     

    as soon as I enter into a relation with the other, with the gaze, look, request, love, command, or call of the other, I know that I can respond only by sacrificing whatever obliges me to also respond, in the same way, in the same instant to all the others. I offer a gift of death, I betray, I don't need to raise my knife over my son on Mount Moriah for that. (68)

     

    Thus Derrida blurs the separation of the private sphere of relational experience, kinship, from the public sphere in which friendship develops from interactions between unrelated human beings and goes on through time. As with Abraham’s gift, however, the gift of death Derrida-the-friend seems to offer is that of the death of the self to others, rather than the gift of killing the friend or the self. He avoids the metaphysical implications of this gift exchange by extending the impact and relevance of the story of Isaac’s sacrifice to those who are not necessarily believers, but who nonetheless define their own cultural capital as literate and literary: “The sacrifice of Isaac belongs to what one might just dare to call the common treasure, the terrifying secret of the mysterium tremendum that is a property of all three so-called religions of the Book, the religions of the races of Abraham” (Gift 64). As both readers and joint inheritors of this religious/literary tradition, we can learn from the private drama that occurs in Abraham’s family as well as from the larger implications of the duty the living owe the dead.

     

    In his performative (re)reading of Roland Barthes’s Camera Lucida, Derrida writes of a mourning within the dynamic of kinship. Barthes mourns the death of his mother by discussing an absent photograph, not reproduced nor included among the twenty-five stills he reads in this text. More so than is the case with friendship, the relationship between parent and child is founded upon the expectation that one of them will live to see the other die. The familial bond is both more random and more permanent than the intimacy developed through the fragile and contractual nature of friendship, precisely because it is founded upon this very expectation. Parents see their children enter the world, and expect to have those same children mourn them as they die.

     

    In Camera Lucida, Barthes, like Derrida, (re)reads in order to remember family. In the first sentence of “The Winter Garden Photograph,” Barthes situates himself spatially with relation to his mother’s death–“There I was, alone in the apartment where she had died”–as well as imaginatively, in the grieving process of mourning-through-rereading: “looking at these pictures of my mother, one by one, under the lamp, gradually moving back in time with her, looking for the truth of the face I had loved” (Camera 67). As he mourns, Barthes (re)reads not only the visual texts of the photographs themselves, but also the emotional landscape of a shared life with the mother (re)captured and (re)presented by the photographs as articles that exist in time and are shaped by the passing of time. The death of his mother affects not only Barthes’s description of himself in Camera Lucida as someone actively engaged in the act of grieving–of constantly existing in pain–but also colors Derrida’s reading of the short time span separating the event of Barthes’s mother’s death in 1977, the same year as Patočka’s demise, from Barthes’s own tragic death in 1980, as an in-between period of no life, unlife, or a death-in-life. Although Derrida never knew Barthes’s mother in life, the son’s (re)reading of the winter garden photograph is so powerful it makes Derrida imagine this woman who “smiles” at both her son and, by extension, at his friend (Work 36). Derrida argues that her dying took a toll on Barthes’s “way of life–it was for a short time his, after his mother’s death–a life that already resembled death, one death before the other, more than one, which it imitated in advance” (47). By linking Barthes so definitively to the example set by the mother, Derrida suggests that the self is prone to endless duplication and repetition; Barthes may not be able to die his mother’s death, but he can die soon after she does, thereby (re)enacting the finality of her death, if not its irreplaceability.

     

    Derrida himself duplicates and repeats Barthes’s gesture of grieving for the m/other through (re)reading when he confesses his own impulse to look at the photographs in Barthes’s middle books as a mimetic gesture that allows him to emerge from the abyss of grief to carry out the work of mourning. The unfamiliarity of the absent winter garden photograph as a visual element in Barthes’s text prompts Derrida to stop (re)reading Barthes’s words and to focus instead on his images: “Having returned from the somewhat insular experience wherein I had secluded myself with the two books, I look today only at the photographs in other books (especially in Roland Barthes by Roland Barthes) and in newspapers” (Work 63). The photographs in Camera Lucida depict mostly exotic others to whose appearance or affect Barthes responds through analysis and commentary. Those in Roland Barthes by Roland Barthes are more personal; they portray Barthes at various stages of his life, and also include images of his relatives and objects of sentimental value to him. Ironically, in returning to the visual image of Barthes duplicated within the pages of the autobiographical text, Derrida affirms the symbolic distance separating his experience of the loss of Barthes-the-friend from the loss of self Barthes confesses to feeling when gazing at his own image in Camera Lucida: “what society makes of my photograph, what it reads there, I do not know (in any case there are so many readings of the same face); but when I discover myself in the product of this operation, what I see is that I have become Total-Image, which is to say, Death in person” (14). When Barthes interprets his image as an object synonymous with Death personified, he evinces an understanding of the individuation that Derrida argues death gives us all as a gift. However, since Derrida looks at images of Barthes after the latter has not only become Death, but has also died, the exercise only heightens the perception of these visual texts as the simulacra of the man whose image they represent.

     

    In adding Roland Barthes by Roland Barthes to his discussion of Barthes’s alpha and omega works, Writing Degree Zero and Camera Lucida–Derrida sets it, and through its autobiographical prism, Barthes himself–as the punctum or point through which to view his own understanding of Barthes’s implicit theory of grief and mourning. Whereas no one can take or give the gift of a person’s death to or from him or her, people can authorize themselves whether or not the author has died a physical death. Barthes explains this in “The Death of the Author,” when he acknowledges that “the author still reigns in manuals of literary history, in biographies of writers, magazine interviews, and in the very consciousness of litterateurs eager to unite, by means of private journals, their person and their work” (50). The very public nature of the document through which he “unites” his “person” and his “work” distinguishes Barthes-the-writer from the “litterateurs” he disparages. As the title of the text clearly indicates, Roland Barthes by Roland Barthes is a self-authorizing document through which the author usurps the generative agency of the Mother. This self-naming gesture becomes doubly significant according to the Derridean deconstruction of reading and writing practices because through appropriating the Lacanian name of the Father, Barthes at once inscribes himself into the Freudian family romance and reduces his public “self” to the limitations of language in its naming capacity.

     

    Roland Barthes claims to have frustrated the Oedipal relationship because of the early death of his father. In a caption printed beneath a photograph of his progenitor, he writes, “The father, dead very early (in the war), was lodged in no memorial or sacrificial discourse. By maternal intermediary his memory–never an oppressive one–merely touched the surface of childhood with an almost silent bounty” (Roland Barthes 15). Despite this image of benign neglect, or of a complacent emotional distance separating his childhood self from the pain of the loss of his father, Barthes reveals the emotional trauma of being identified as a mourner when he tells an anecdote about one of his schoolteachers:

     

    At the beginning of the year, he solemnly listed on the blackboard the students' relatives who had "fallen on the field of honor"; uncles abounded, and cousins, but I was the only one who could claim a father. I was embarrassed by this--excessive--differentiation. Yet once the blackboard was erased, nothing was left of this proclaimed mourning--except, in real life, which proclaims nothing, which is always silent, the figure of a home socially adrift: no father to kill, no family to hate, no milieu to reject: great Oedipal frustration! (Roland Barthes 44-45)

     

    The public inscription of the name of the father on the blackboard embarrasses Barthes by the intimacy the relationship implies, even as the lived experience of that intimacy is absent. In his attempt to honor the dead, the teacher draws attention to the young Barthes’s status as both a mourner and an orphan, and thereby emphasizes his difference from his peers. By using the plural in the title of his eulogy, “The Deaths of Roland Barthes,” Derrida avoids repeating the teacher’s mistake. Derrida acknowledges that Barthes experienced death in several ways while he was alive, and does not appropriate any one of these for his own grieving.

     

    The editors of The Work of Mourning, Pascale-Anne Brault and Michael Naas, fill in the gaps left by the deaths of each of Derrida’s mourned friends and by Derrida’s rhetorical silence concerning the same. In a situation parallel to that occasioned by Wills in his “Translator’s Preface” of The Gift of Death, Brault and Naas structurally make mourning possible for the reader of The Work of Mourning by prefacing each essay with a brief biography/thanatography of Derrida’s dearly departed colleagues. Given the length and attention to detail of these biographical sketches, we can read them as supplements to Derrida’s account of his friendship with each person as chronicled in the essay itself. Since they include important information about the circumstances surrounding the death of each person, the sketches highlight the absence of Derrida’s discussion of the death of his friends.

     

    This omission is especially glaring in the accounts of Sarah Kofman and Gilles Deleuze, two people who literally give themselves death–“se donner la mort” (Gift 10)–by committing suicide. Derrida’s silence concerning the circumstances of Kofman’s death is stunning; by ignoring the doubling and reversal inherent in Kofman’s timing her death to coincide with the 150th anniversary of Nietzsche’s birth (Work 167), Derrida does not acknowledge the performative self-mourning inherent in her violent internalization of the gift of her death. Ironically, in The Gift of Death Derrida already lays out the groundwork through which to interpret suicide as a sacrificial gift to an/other. Derrida claims, “it is the gift of death one makes to the other in putting oneself to death, mortifying oneself in order to make a gift of this death as a sacrificial offering to God” (Gift 69). In this passage the other is God, but in Kofman’s case, I would argue, the Other to whom she “gives” her death as a birthday present is Nietzsche. Rather than affirming her own irreplaceability, Kofman forcefully imbricates the event of her self-authorized death with the raison d’être for a large portion (five books) of her distinguished oeuvre on the German philosopher. Deleuze’s suicide is less self-consciously theatrical than Kofman’s, and so does not warrant as close an analysis.

     

    While Derrida’s silence about suicide can be said to mute its impact as a performance, in “In Memoriam: Of the Soul” he quotes from de Man’s private writing, his letters to Derrida, to illustrate a willful act of (re)reading his own illness as a double metaphor: de Man reads cancer through Mallarmé as a process, “peu profond ruisseau calomnié la mort” (Work 74), but recoils from the implied threat contained within the living symbol of his affliction, “tumeur/tu meurs” (75). By reading the letter as de Man’s affirmation of living-in-death instead of interpreting it as a memento mori or even as an “intimation of immortality,” Derrida mutes the power of de Man’s rhetorical gesture towards a self-authorized (or self-authored) death. Even as he mourns his friend by (re)reading his letter, Derrida’s invocation of de Man’s pun on his illness keeps him frozen in time, as it were, as a reader reading about his impending death rather than as someone who give himself death through suicide. Derrida tries to evade the responsibility inherent in mourning for de Man by endlessly postponing the moment of mourning until some future time outside the narrative. The essay he writes in memory of Paul de Man and which appears in The Work of Mourning, “In Memoriam: Of the Soul,” is a 1986 translated transcription and adaptation of the speech Derrida originally gave at the memorial service held at Yale in 1984 (qtd. in Mourning 72). In its internal displacement from itself, the essay embodies the very postponement it announces: “At a later time, I will try to find better words, and more serene ones, for the friendship that ties me to Paul de Man (it was and remains unique), what I, like so many others, owe to his generosity, to his lucidity, to the ever so gentle force of his thought” (Work 73). Derrida feels weighed down by the outstanding balance of his friendship with de Man, a debt that now can never be repaid. When he writes “Psyche: Inventions of the Other,” published in Reading de Man Reading (1989), a volume explicitly dedicated to memorialize the work and thought of de Man, Derrida fulfills the promise he makes in “In Memoriam.” However, although he carries out the work of mourning by engaging in a careful (re)reading of de Man’s “Pascal’s Allegory of Persuasion,” Derrida once more postpones addressing the loss or lack of de Man in the world until another time.

     

    The final structural mechanism through which Derrida postpones the moment of mourning in both of these essays is the juxtaposition of the familial world to that of friendship. In each of these two texts, Derrida triangulates his interaction with de Man through the introduction of a son–Derrida’s actual and Cicero’s historical offspring–into the dynamic of friendship. These two sons mediate Derrida’s interaction with de Man by perpetuating the distance that separates the dead one from the still-living (at that time) other. This gesture is most overt in the opening paragraphs of “Psyche,” where Derrida approaches his reading of de Man’s essay on allegory through the prism of the “invention” in a discussion of Cicero’s dialogue with his son. In between his reading of the Latin pater familias and the Belgian reader of allegory, Derrida speaks a few words of mourning:

     

    I should like to dedicate this essay to the memory of Paul de Man. Allow me to do so in a very simple way, by trying once more to borrow from him--from among all the things we have received from him--a bit of that serene discretion by which his thought--its force and radiance--was marked. ("Psyche" 26)

     

    As he writes about de Man here, Derrida distances himself once more from the grief of his mourning by asking his readers to authorize him to write what he is about to say. The analysis that follows this personal irruption in the text is tonally objective and somewhat removed.

     

    Derrida describes a similar experience of feeling distanced from de Man during a car ride through the streets of Chicago, when he listens to, but does not join, de Man’s conversation with Derrida’s son, Pierre, about music and instruments. Although he was not himself a musician, Derrida recognizes the artistry shared by his son and his friend in their proper use of language, “as technicians who know how to call things by their name” (Work 75). He translates this “technical” discussion to the language of images once Derrida learns that “the ‘soul’ [âme] is the name one gives in French to the small and fragile piece of wood–always very exposed, very vulnerable–that is placed within the body of these instruments to support the bridge and assure the resonant communication of the two sounding boards” (75). This definition of the “soul” [âme] of the instruments, rather than giving Derrida greater insight into the conversation his friend and son were having, sends him instead into metaphysical flights of fancy, through which he associates the instruments of the conversation with “the argument of the lyre in the Phaedo” (75). In this mental distancing from the conversation in the car, Derrida exhibits his own status as a rhetorical technician, rather than as a musical one. This recognition of an unbridgeable gap of experience is sparked by Derrida’s almost visceral reaction to the word “soul”: “I was so strangely moved and unsettled [obscurément bouleversé]” (Work 75). I read Derrida’s reaction as a sign of alienation from the two musicians in the car retold as a story to the assembled crowd both to pay tribute to the specialized skills and knowledge of the dead, and to affirm Derrida’s own, and the community’s, status as living beings who grieve for a common loss.[4]

     

    Unlike Barthes’s photograph of his mother in the winter garden, which leads him to discover a truth about his mother, Derrida’s image of “soul”/âme emphasizes his own exclusion from the conversation he overhears. He does not know what it means. The conversation teaches him about his son’s expertise as well as revealing a previously unknown facet of de Man, but the mental/textual image of the “soul”/âme as an apparatus shows his own distance from the conversation.

     

    While his friendship with de Man may have been unique, it was not exclusive. The reproducibility of a social dynamic–friendship–as well as the inescapable fact of every person’s eventual death unites the speaker and the audience in a public expression of mourning that is both reproduced and disseminated through the publication of the anthology of Derrida’s writings years later. In “In Memoriam,” Derrida uses repetition to convey the cycle of grief and mourning as an experience that brings him closer to the audience of fellow mourners than to the dearly departed de Man: “We are speaking today less in order to say something than to assure ourselves, with voice and with music, that we are together in the same thought” (Work 73).

     

    With the distance of time also comes the burden of responsibility. The communal wound that Derrida chooses not to help heal is the pain occasioned by the revelation of de Man’s anti-Semitic writings in Belgium when he was a young man. Derrida’s silence about these texts through the various translations and adaptations of these two essays can be read as his attempt not to speak for the other now that there is no chance to obtain a reply.[5] The insurmountable silence of death condemns us all to ignorance regarding de Man’s readings of his earlier publications in light of the wisdom he developed as he aged. Derrida’s repeated references both to grief and to ignorance of what the future would hold–“How was I to know,” “so painfully,” “everything is painful, so painful” (Work 75)–give witness to his friendship with de Man as it was at the moment of de Man’s death, as yet untainted by the scandal of revelation but always already injured by the existence of the few de Manian texts Derrida is not at pains to (re)read.

     

    Derrida discusses mourning as a process that begins upon the loss of the other, but which had its origins much earlier. The inevitable potential loss of the friend casts a shadow upon the very foundation of friendship, as Derrida argues in other essays in The Work of Mourning. In “The Taste of Tears,” Derrida’s celebration of his friendship with Jean-Marie Benoist, he explains the expectations of mourning built into the pact of friendship: “To have a friend, to look at him, to follow him with your eyes, to admire him in friendship is to know in a more intense way, already injured, always insistent, and more and more unforgettable, that one of the two of you will inevitably see the other die” (Work 107). His emphasis on the ocular nature of this contract implicit within friendship is all the more ironic in that Derrida confesses to not having gazed upon the dead friend for quite some time before his or her dying. In his insistence on (re)reading as the proper activity through which to work at mourning, Derrida privileges sight, the process of turning seeing into knowing, over the gaze, the continued and sustained observation of the already familiar image. To succeed at mourning, the surviving friend must be seen to be working at mourning.

     

    Furthermore, Derrida assumes that mourning is both a duty–an obligation to be fulfilled by a friend–and an unavoidable burden placed upon the friendship itself. It is incumbent upon the surviving friend to perform or give witness to his or her own “fidelity” (Work 45) to the relationship with the now-dead writer (as it happens, all the people he memorializes in this collection are writers). The death of the friend, then, on the one hand, effectively ends the friendship itself: while he lives, Derrida can remember his friendships with the dead, but he can no longer be the friend to the dead that he was to the living. On the other hand, the death of the friend perpetuates the friendship as it was up-until-the-moment-of-death–with the death of the one friend and the subsequent elimination of the possibility for further interaction, the friendship becomes static, forever frozen as it last stood. The surviving friend may give witness to his or her own fidelity, but he or she may not alter unresolved issues or disappointments that may have occurred in the past. In contrast, Derrida describes the beginning of friendship as an infinitely fluid time. He does so by consciously failing to draw a firm distinction between his role as a reader of the now-dead-writers’ texts and his eventual status as the writers’ friend. In his letter to Didier Cahen about his reaction to Edmond Jabès’s death, Derrida says his relationship with Jabès began before they met–it was an occasion “when friendship begins before friendship” (123). Derrida’s friendship for Jabès began when he first read Jabès’s The Book of Questions. Here Derrida characterizes the reader-text relationship as a gateway to a possible friendship between reader and writer so long as this possibility is not foreclosed by the death of either party. While friendship is a dynamic system that demands interaction between two parties, mourning may be communal, but it can never be reciprocal.

     

    Derrida’s essay on the death of Louis Marin, “By Force of Mourning,” begins by negating the very premise of its origin: Derrida announces the absolute lack of a language through which to convey and understand the process of mourning as a work. “There is thus no metalanguage for the language in which a work of mourning is at work” (143). It follows that the work of mourning cannot succeed fully in language. Derrida points out that the posthumous publication of Marin’s last book, De pouvoirs de l’image, effectively makes Marin (re)appear in print; he is no longer the friend who can be “followed” by the eyes of the gazing other, but that does not discount the visual presence of the dead-Marin-as-text through his posthumous book. Like the (unseen) photograph of Barthes’s mother in “The Winter Garden Photograph” and the (unheard) melody made possible by de Man’s and Pierre’s “soul”/[âme], Marin haunts Derrida’s imagination as the trace of an irreproducible visual image. As a textual portrait of Marin’s work on images, the posthumously published Des pouvoirs de l’image fixes him as an eternal revenant, an undead that rises out of the grave with each act of reading. As he does in his earlier reading of Barthes’s last book, Camera Lucida, Derrida here privileges the opposite function of the visual image, “the pictorial vocation,” of Marin’s book “to seize the dead and transfigure them–to resuscitate as having been the one who (singularly, he or she) will have been” (Work 156). Where he sees the textual image of Marin in the book affirming the irreplaceability hard-won through accepting the gift of death, breathing new life into his experience of having-been-in the world, Derrida reads Barthes’s gaze upon the picture of the mother as a self-obliterating gesture that erases all difference between the parent and child.

     

    At this nexus where self-confusion intersects with the affirmation of individuality, Derrida theorizes the concept of “grief” in his discussion of mourning, instead of appealing to writing-in-pain as he does in “In Memoriam.” In Camera Lucida, Barthes had already noted the co-incidence of grief and mourning as supplementary processes of being-in-relation-to-death. For him, the act of gazing upon “The Winter Garden Photograph” brings about a synaesthetic recognition of a larger truth; the photograph “was for me like the last music Schumann wrote before collapsing, that first Gesang der Frühe which accords with both my mother’s being and my grief at her death” (Camera 70). Grief as an emotion defines the timelessness of his “mother’s being” as well as the abyss of loss Barthes experiences “at her death” and continuously thereafter. For Derrida, the act of reading Des pouvoirs de l’image proves the emotional power inherent of the image of the loyal friend giving witness to a now-lost friendship. Although he does not give it a name, Derrida feels “the emotion of mourning that we all know and recognize, even if it hits us each time in a new and singular way, like the end of the world, an emotion that overwhelms us each time we come across the surviving testimonies of the lost friend, across all the ‘images’ that the one who has ‘passed away’ has left or passed on to us” (Work 158). The uniqueness of the grief we feel is only intensified by the encounter with an endless number of texts that are possibly about the lost friend as a friend to others. Rather than diminishing pain, the reproducibility both of the interactive dynamic of friendship in “By Force of Mourning” and of the performance of Schumann music refine the expression of grief to a pure form: being-in-pain. One does not work at grief; one exists within it: I grieve.

     

    If the gift of death is the individuation of the self, and the work of mourning consists in (re)reading the (text of the) other, then the work of death is the silent gaze of the dead on the living. Derrida explains that this work of death is carried out by the internalized image of the dead within the living and, as such, affirms a permanent alterity as it escapes reciprocity:

     

    However narcissistic it may be, our subjective speculation can no longer seize and appropriate this gaze before which we appear at the moment when, . . . bearing it along with every movement of our bearing or comportment, we can get over our mourning of him only by getting over our mourning, by getting over, by ourselves, the mourning of ourselves, I mean the mourning of our autonomy, of everything that would make us the measure of ourselves. (Work 161)

     

    Where Marin interprets the gaze of the dead upon the living as part of the power/pouvoir of the (internalized) image, Derrida’s experience of it recalls the internalization of power as surveillance in a Foucauldian sense. With the irruption of the friendship occasioned by the death of the friend, the survivor’s mourning becomes multiple–for the self, for the defunct friend, and for the other–without being reciprocal. Other than by postponing the moment of mourning infinitely, the only way out of mourning and grief lies through the acceptance of a continued state of living through and under the gaze of the internalized other. As readers who can no longer hope to become Derrida’s friends, we can internalize not the image of Derrida’s gaze upon ourselves, but the image of his gaze upon the page, and use it to guide us in our grieving.

     

     

  • What’s to Become of “Democracy to Come”?

    A.J.P. Thomson

    Department of English Literature
    University of Glasgow
    A.Thomson@englit.arts.gla.ac.uk

     

    There is something of a rogue state in every state. The use of state power is originally excessive and abusive.

    –Jacques Derrida, Rogues 156

     

     

    Faced with an apparently inevitable and overwhelming victory for the Islamist Front Islamique du Salut party, and following the resignation of President Chadli on 11 January 1992, democratic government in Algeria was dissolved between the first and second round of elections, to be replaced by military rule. Jacques Derrida draws our attention to these events in the third chapter of “The Reason of the Strongest (Are There Rogue States?)” (2002), the first of two texts collected in Rogues (2003).1 Derrida does not go into any great detail about the event, whose interpretation is extremely complex: neither Chadli, nor the ruling Front de Libèration Nationale, nor the Islamist party that looked set to gain nearly seventy-five percent of the available parliamentary seats with the support of barely a quarter of the electorate could have formed what might be comfortably described as a legitimate government (Roberts 105-24). But Derrida’s attention is elsewhere, concerned not so much with the specific history of his homeland as with what it might tell us about the idea of democracy itself. This is an example, he suggests, of a suicidal possibility inherent in democracy. Derrida appears to mean this in two senses. First, it highlights a risk to which a democracy is always exposed: the apparently suicidal political openness that allows that a party hostile to democracy might be legitimately elected. (Derrida acknowledges that this is itself a matter of interpretation, noting “the rise of an Islamism considered to be anti-democratic” [Rogues 31, emphasis added].2) Second, that democracy may interrupt itself in order to seek to preserve itself: a suicide to prevent a murder. In either sense, this seems to be both a threatening and unsettling way to describe any political regime. Moreover, a stress on the end of democracy would appear to be at odds with the emphasis on its future that had previously characterized Derrida’s political writing, pithily encapsulated in a phrase borrowed for the title of the Cerisy conference at which this troubling essay was first presented: “democracy to come.” Disentangling this puzzle means posing a question that is crucial for the political future of deconstruction: in the final years of his life, did Derrida change his stance on the relationship he had asserted so memorably in Politics of Friendship: “no deconstruction without democracy, no democracy without deconstruction” (105)?

     

    I

     

    Derrida’s account of suicidal democracy is closely linked in Rogues to the idea of “autoimmunity,” a figure introduced into Derrida’s long essay on religion, “Faith and Knowledge: the Two Sources of ‘Religion’ at the Limits of Reason Alone” (1995), and given its fullest development in his post-9/11 interview with Giovanna Borradori, “Autoimmunity: Real and Symbolic Suicides” (2001). Autoimmunity is a term used in the biomedical sciences to describe a phenomenon in which a body’s immune system turns on its own cells, effectively destroying itself from within. Autoimmunity is a feature of every immune system: although it is usually harmless, there is no defense system that is not threatened by the possibility of such a malfunction. To give a preliminary idea of how Derrida links autoimmunity and democracy, it seems clear that he wants to describe a threat to democracy that comes from within rather than from without. Or in more florid terms, democracy always carries within itself the seeds of its own destruction.

     

    In the interview with Borradori, Derrida describes “autoimmunity” as “that strange behaviour where a living being, in quasi-suicidal fashion, ‘itself’ works to destroy its ‘own’ immunity, to immunize itself against its own protection” (“Autoimmunity” 94). The immune system defends a body against external threats, but depends for its effectiveness on, at the very least, the ability to distinguish self from other, the body it protects from the outside. Autoimmunity is the always-possible failure of such a system to distinguish what it protects from what it protects against. Deconstruction, which focuses on the impossibility of ever finally distinguishing between what lies within and without any limit, might find a figure here for what is interesting about the formation of any identity. However, Derrida is not exact about its use, and I am not entirely convinced it is possible to reconcile the different uses to which it is put in the three major published texts in which it appears. I think it fair to say that the translation of the idea of autoimmunity from a biomedical to a philosophico-political discourse infects it with a certain amount of ambiguity. It will help to recapitulate the two earlier discussions.

     

    In “Faith and Knowledge,” Derrida proposes “autoimmunity” as a way of thinking about the relation between religion and technological modernity. On the one hand, religions make use of radio, television, the media–all the advantages given them by the communications technologies of advanced industrial society; on the other hand, religion protests against those same developments, which seem to threaten its authority, its established traditions, or its power. Religion makes use of that which threatens it, in order to develop and survive; so the means of its survival is simultaneously the risk of its destruction: “it conducts a terrible war against that which gives it this new power only at the cost of dislodging it from all its proper places, in truth from place itself, from the taking-place of its truth. It conducts a terrible war against that which protects it only by threatening it, according to this double and contradictory structure: immunitary and auto-immunitary” (“Faith” 46). The autoimmune and immune reactions endlessly circulate: a religion lives and prospers only to the extent that its autoimmune systems can repress its reaction against the modern world from which it tends to isolate itself. Derrida extends this autoimmunitary economy to community as such, a concept of which he has always been suspicious (e.g. Politics 298), to suggest its tendency to close in on itself, to exclude that outside on which it depends for its survival. This tendency is not a perversion of proper community (whether inoperative, unavowable, or coming, as for Blanchot, Nancy, Agamben), but the condition of its existence: “no community that would not cultivate its own auto-immunity, a principle of sacrificial self-destruction ruining the principle of self-protection (that of maintaining its self-integrity intact). . . . This self-contesting attestation keeps the auto-immune community alive, which is to say, open to something other and more than itself” (“Faith” 51).

     

    In our second source, his interview with Giovanni Borradora, Derrida underscores the “terrifying” quality of the autoimmunitary process: that “my vulnerability is . . . without limit” before “the worst threat,” that which comes from the inside (“Autoimmunity” 188n7). This is developed in three forms. First, 9/11 itself should not be seen as an attack coming simply from without, but from within. Alongside America’s unprecedented and apparently unthreatened status as a world power comes its massive exposure to such attacks, through the concentrations of symbolic and actual power in the World Trade Center and the Pentagon and the easy availability of the means to conduct such an attack. Moreover this is not an attack from an external enemy, but from a former ally, and so takes place within a process initiated by the Americans when they armed bin Laden and his followers. Second, Derrida diagnoses something like a post-Cold War world order in which international terrorism replaces competition between power blocs as the major threat to the world system: a threat grounded in the possible repetition of such traumatic events. Third, Derrida expands the idea of autoimmunitary reactions to be regarded as something like an historical law: “repression in both its psychoanalytical sense and its political sense–whether it be through the police, the military, or the economy–ends up producing, reproducing, and regenerating the very thing it seeks to disarm” (99). Derrida will argue in Rogues that no enemy of democracy can refuse to call himself a democrat; similarly “every terrorist in the world claims to be responding in self-defence to a prior terrorism on the part of the state, one that simply went by other names and covered itself with all sorts of more or less credible justifications” (103). In “Faith and Knowledge,” the autoimmune is what keeps religion, or community, alive, a virtuous if dangerous principle of contamination by and exposure to the world; to be wholly immune would be the closure of the system, or of the body, to the outside. If this remains Derrida’s model, the American attacks on Afghanistan and on Iraq, for example, would be examples of an autoimmune process that, in engaging the United States in the world, exposing it to the world, suppresses the immunitary response (some kind of retreat to isolationism), and prolongs the cycle of violence, repression, and reaction.

     

    In Rogues, Derrida develops his discussion of autoimmunity out of the Algerian example I have cited. He reads the history of colonial and postcolonial Algeria in terms of a similar cycle of repression and reaction: a colonial power which denies democratic government to its dependent territory provokes a war which can best be seen as internal, rather than a war with an enemy power, as the political consequences in France certainly indicated; subsequently the postcolonial state is forced to suspend its own democratization process to protect not only its own control but the principle of democracy itself against the internal enemies it has managed to provoke in the aftermath of independence. It becomes hard to tell whether this action is that of the immune system–a defense against a threat to democracy, as the opponents of the Islamists might claim–or whether democracy’s suicide is an autoimmune reaction–another step in the existence of democracy, a slow self-destruction. Derrida suggests that the two are fairly indistinguishable: “murder was already turning into suicide, and the suicide, as always, let itself be translated into murder” (Rogues 59). This suggests that Derrida is not terribly concerned to differentiate between the immune and the autoimmune, and accounts for his use of the term “autoimmunitary” to refer to both processes as if they were a single phenomenon whose pervertibility or malfunction is regularly and critically indistinguishable from its proper purpose.

     

    II

     

    Does the extension of the idea of the autoimmunitary from religion in “Faith and Knowledge” to his account of democracy by the time of Rogues constitute a significant alteration of Derrida’s earlier understanding of “democracy to come”? If we were to seek confirmation that Derrida is challenging us to examine his use of the concept of democracy, we need only look to comments he makes immediately after citing the Algerian example. As a way of making the outlandish notion of democratic suicide seem more familiar, he draws a comparison between the cancelled Algerian election and the French presidential election of 2002, the year in which his paper was first given: “Imagine that, in France, with the National Front threatening to pull off an electoral victory, the election was suspended after the first round, that is, between the two rounds” (Rogues 30). The possibility of a Le Pen presidency underlines the ever-present threat of the legitimate democratic election of an anti-democratic candidate. This becomes something like a general principle of democratic systems: “the great question of modern parliamentary and representative democracy, perhaps of all democracy, . . . is that the alternative to democracy can always be represented as a democratic alternation” (30-1). The virtue of democracy, that opening to the future which leaves it open to change, institutionalized as the possibility of competing parties taking turns, exposes it in turn to the risk of destruction by the electoral institution of those who seek to suspend or restrict democracy. It is worth bearing in mind that Derrida rarely uses “democracy” to mean simply a particular form of government, but more often to suggest a whole political culture: equality, rights, freedom of speech, protection of minorities from majority oppression.

     

    A further implication is that today both friends and enemies of democracy will present themselves as having impeccable democratic credentials. One of Derrida’s interests in Rogues is the apparent hegemony of the democratic itself; as he comments, even “Le Pen and his followers now present themselves as respectable and irreproachable democrats” (Rogues 30). Only a passing acquaintance with contemporary political trends in Britain suggests that this might be more than an exceptional problem, but a commonplace. It is not only the perma-tanned populist demagogue or the single-issue party that seeks to short-circuit established democratic decision-making procedures (although they may always also be the vehicle for a legitimate democratic response on behalf of an excluded group). An elected administration with a parliamentary majority but an increasingly centralized cabinet government may well be judged a threat to democracy even before the introduction of legislation which contravenes particular democratic principles (but always in the name of the opinions of the people, or the security of the state). The implication we might take from Derrida’s allusion to this problem is that responsible citizenship must mean (at the very least) interrogating all those who present themselves as democrats. They may always turn out to be voyous–rogues.

     

    This poses a challenge, in turn, for Derrida’s audience. For after all, Derrida appears before us today, as he has done for a while, as a democrat. Derrida begins his address in “The Reason of the Strongest” with the idiomatics of voyou, but also by drawing our attention to the possibility that he too, is voyou. Derrida recalls his earlier words directly: “I would thus be, you might think, not only ‘voyou‘ but ‘a voyou,’ a real rogue” (Rogues 1; 78-9). It is up to us to say; Derrida stresses that the word voyou is never neutral, but always a performative judgment, an accusation, or an interpellation. To judge someone to be voyou is to place them outside the law and to ally yourself with the law (64-5). The possibility that a democrat is really a rogue reflects a “troubling indissociability” between the two, in part because the word’s provenance in the nineteenth century associates it with the threat of the demos, of the people at large, as it is largely used to stigmatize a specifically modern, urban population, perceived as a mobile, anarchic threat to bourgeois order (66-7). The voyou belongs among the spectres not only of a specifically revolutionary or simply despised class, but also of populism, which Benjamin Arditi helpfully describes as an “internal periphery” of democracy. Or in Derrida’s terms: “Demagogues sometimes denounce voyous, but they also often appeal to them, in the popular style of populism, always at the indecidable limit between the demagogic and the democratic” (67). If Derrida might turn out to have been merely a rogue, no true friend of democracy, that must be an inexorable condition of his own appeal to “democracy to come.” In Rogues he exhibits this undecidability, flaunting the necessary possibility that “democracy to come” might also turn out to be merely a verbal conjuring trick, mere politics in the pejorative sense. What is at stake in reading and responding to Derrida’s apparent revision of his account of democracy is the status of political interest in deconstruction, what Derrida argues is not a “political turn” within deconstruction but has always been there as the question of “the thinking of différance as always [a] thinking of the political, especially around the enigma or the autoimmune double bind of the democratic” (39).

     

    III

     

    Evaluating the place of “democracy to come” in Derrida’s work prior to Rogues is itself a challenging task. Since my conclusions on the subject can be found at greater length in Deconstruction and Democracy, here I will give an account of Derrida’s use of the term “democracy” that may allow us to judge whether his presentation of the relationship between deconstruction and democracy changes over time. (Since this essay takes into account texts which were not available to me in 2001, when the bulk of Democracy and Deconstruction was written, it may be read in part as an attempt at self-criticism, in the light of what may now be called, with regret, Derrida’s last writings. It is also a work of mourning.) Such an explication is made more difficult by Derrida’s refusal to define definitively what he understands by the word “democracy,” and his tendency to approach the subject from entirely different angles in individual texts. In Politics of Friendship, the most extensive treatment of these questions, democracy is primarily analyzed in terms of the relationship between fraternity and equality in the Western tradition of political thought; but in other texts, for example in “Passions” (1992), Derrida appears to suggest a more historical approach, tying the development of Western liberal democracy to institutional and legal developments, and particularly to the idea of literature.

     

    Derrida’s hesitation about defining democracy also testifies to a certain tension or torsion within democracy itself, beginning with the problem of the word “democracy.” This is not simply a matter of distinguishing between democrat and rogue, or between a democratic state and a rogue state. Indeed it might begin with the question of whether we approach democracy as a word, rather than as a concept. If we had a clear definition of democracy, many of the difficulties in which Derrida is interested would disappear: we would have fixed criteria against which an individual or a state could be judged and declared democratic or not. Derrida does not even begin to speculate on whether such a set of criteria could be reasonably secured. This is not out of a desire for obfuscation or obscurity, but out of the conviction that such criteria would be inadequate to the futurity of democracy, to its openness, in which lies both its promise and its risk, its chance and its danger. All of that, indeed, which Derrida wishes to underline in his use of the phrase “democracy à venir “: usually translated as “democracy to come,” but in which we hear avenir, “future.” So Derrida never says quite what he means when he uses the word democracy, nor when he intervenes in the name of “democracy to come.” Indeed, as he suggests in “The Reason of the Strongest,” he may not always have been entirely serious in his use of the phrase: “I have most often used it, always in passing, with as much stubborn determination as indeterminate hesitation–at once calculated and culpable–in a strange mixture of lightness and gravity, in a casual and cursory, indeed somewhat irresponsible, way, with a somewhat sententious and aphoristic reserve that leaves seriously in reserve an excessive responsibility” (Rogues 81).

     

    This may go some way to account for the confusion or bemusement with which Derrida’s political work has been greeted. Since the late 1980s, it has no longer been possible for readers of Derrida to accuse him of a failure to explain the political dimension of deconstruction, a demand that had been clearly evident as long ago as the interview with Jean-Louis Houdebine and Guy Scarpetta entitled “Positions” (1971). In his written texts and numerous interviews, Derrida has addressed an extensive range of specific political concerns, including nationalism, religious fundamentalism, cosmopolitanism in international affairs, the United Nations, immigration, and the idea of Europe and its place in world affairs, while more theoretical work has revolved around the concepts of decision, responsibility, justice, and hospitality. But where Derrida was once berated for failing to address political questions, new concerns have arisen among those following the development of his work. There has been a tendency to assimilate Derrida’s work to that of Levinas, despite the fact that a careful reading of texts such as “A Word of Welcome” (1996) will show that there has been no significant alteration in Derrida’s position on Levinas since his first criticisms in “Violence and Metaphysics” (1964).3 In turn this has led to the charge that Derrida has offered only “a politics of the ineffable” (McCarthy 115). Even writers sympathetic to Derrida have called for a political supplement to deconstruction such as might be found in the work of Laclau and Mouffe (Critchley 283). Slavoj Žižek speaks for many of Derrida’s critics when he suggests that Derrida’s actual political commitments are those of a concerned western European liberal, while his political theory amounts to a “melancholic post-secular” lament for the impossibility of politics (664-65). Derrida’s account of “democracy to come” seems to leave him open to attack from both sides. For self-proclaimed radicals, his work is too close to the liberal tradition, reformist rather than revolutionary. For many liberals, and particularly for the discursive democrats influenced more by the work of Jürgen Habermas, Derrida’s political writings are still too abstract, too vague, and remain divorced from everyday politics. In Deconstruction and Democracy I have tried to show that these concerns are misconceived and to substantiate Derrida’s claim that deconstruction is not best understood as a theory or a method–that is, as a political program–but as a description of “what happens.” As a project of political analysis, deconstruction is first and foremost a sensitivity or patient attention to upheavals and disruptions already underway. From this perspective, we should be able to see deconstruction, différance, an opening to a future which cannot be predicted or determined, in any political regime: by renaming this ungrounding of politics “democracy to come” Derrida is countersigning a political dimension which has been implicit in his work from its very beginning.

     

    IV

     

    Most of the arguments Derrida attaches to the idea of “democracy to come” are not particularly new in his work, but it is their elaboration in terms of democracy which is original. In Politics of Friendship (1989-90/1994), which contains its most extensive discussion prior to Voyous, “democracy to come” functions as a substitute for what Derrida more consistently calls justice.4 The book as a whole investigates the traditional association of democracy with equality, manifest in the recurrent figure of fraternity in political philosophy. Democracy is distinguished from other forms of political association by analogy with the non-hierarchical friendship between brothers. However Derrida rewrites this equation in a startling manner. Brotherhood betrays rather than confirms democratic equality. This does not mean singling out good and bad instances of democratic theories and polities. There is no democracy, Derrida argues, which will not overwrite friendship with brotherhood. Friendship in this schema stands for the possibility of befriending just anyone, brotherhood for an established relation with particular friends. As soon as I have determined friends, I owe them something; they become my brothers, and my obligations to them appear natural, or programmed. Such a programming cancels the very possibility of responsibility for Derrida, just as brotherhood cancels equality by virtue of being a preferring of some others to other others.

     

    It is important to stress that for Derrida friendship and fraternity are inseparable, because this highlights the power, but also perhaps the limits, of Derrida’s analysis of democracy. Fraternity is naturalized friendship, analogous to “nationality” as a bond between citizens which claims to be natural, automatic, unquestionable. Deconstruction, which is above all, denaturalization, insists that the idea of brotherhood, as of the nation, obscures particular political decisions. Friendship, which prefers, cannot help becoming brotherhood. Similarly, democracy, which embodies an appeal to equality, can never live up to its name. As soon as a state prefers its citizens, even in so minimal a way as by naming and counting them as its citizens, democracy is being blocked or cancelled. All the more or less evident restrictions of equality within a so-called democracy (the de facto or de jure inequality of women, of the poor, of minorities, of minors, of strangers tolerated only according to a limited hospitality) can and must be criticized in the name of democracy, judged and found wanting against the principle of equality. But any and every democracy will also always be found wanting because it must refer to a bounded territory or a limited population, because it must be constituted by a decision as to who is and who is not to count as “equal” in principle in this state. Derrida extends the analysis to the principle of equality itself, which can never do justice to the irreducible singularity of those counted as citizens–but without which there could be no laws, and no possibility of legal justice in the first place.

     

    A similar double bind occurs in a discussion of democracy in relation to freedom of speech. In “Passions,” Derrida associates deconstruction with literature and literature with democracy. The right to say anything, the idea of literature, and the freedom of speech guaranteed in liberal democracy in its modern form are all related. This does not mean that all is for the best in the best of all possible worlds. We might deduce that there will be “very little, hardly any” democracy. There can be no absolute freedom of speech, since it is limited by codes governing what can be made known (publicity) and what must be protected (privacy) or hidden (secrecy). These limits will, ideally, be subject to scrutiny and political contestation: a society in which there is no debate on what is right and proper and permissible to say is to that extent no longer democratic. Democracy can never be an experience of absolute freedom, just as it cannot be a matter of absolute equality. Rather we have to understand democracy in terms of tensions and strains, in the constituent limits that democracy places on the principles which define it.

     

    But as soon as it becomes clear that democracy as equality is in the sense to which Derrida appeals impossible, things start to look more problematic. What use is a criticism so general that it must by definition include every state which claims to be democratic? What good is an analysis that will continually and repeatedly testify only to the failure of democratic claims? My own response is that such an understanding of democracy can at least give us grounds to judge more or less democratic tendencies within a particular state, or to compare (in a qualified manner) two systems that claim to be equally democratic; but also that the apparent negativity of this analysis is a necessary correlate of the permanent critical vigilance on which the possibility of responsible citizenship depends. A democrat may become a rogue, even while pursuing the exact same aims, should circumstances happen to change. Our political judgments require constant reinvention. It should also be clear that the idea of democracy to come is an acknowledgment that the idea of democracy, its name, and its tradition, are what make possible such a criticism. For this reason there can be no immediate question of jettisoning democracy. Derrida’s use of the phrase “democracy to come” is in part an acknowledgement of this debt to both an historical and an intellectual heritage. But it is also an attempt to stress or underline the fact that for all the real and existing limits to democracy identified by deconstruction, we should not lose faith in it. Here Derrida’s strategy is rather ambiguous. What sounds like the promise of a more democratic future is in fact nothing of the sort. There is a promise within democracy, as there has always been, but there can be no guarantee of more democracy in the future. “Democracy to come” implies rather that even where there is less, or ever so little, democracy, a future for democracy still remains–and this is perhaps clearer in Rogues, where Derrida uses the figure of the turn to suggest that democracy might always come around again. The suspension of democratic government in Algeria in 1992 was not an end to democracy, but its deferral. The futurity of “democracy to come” must be monstrous, unimaginable because it implies the devastation of all the conceptual systems by which we reckon politics. In Politics of Friendship Derrida wonders a number of times whether democracy to come would still even be democracy: “Would it still make sense to speak of democracy when it would no longer be a question . . . of country, nation, even of State and citizen–in other words, if at least one keeps to the accepted use of these words, when it would no longer be a political question?” (Politics 104). The title of another interview hints that democracy to come might be both a promise to be welcome and a threat to be deferred: “Democracy Adjourned” (the published translation bears the more optimistic sounding “Another Day for Democracy,” and cf. Rogues 68).

     

    V

     

    It is I hope clear that Derrida’s use of the phrase “democracy to come” prior to Rogues is by no means either simply critical or simply affirmative. Both a profession of faith and an affiliation to a particular tradition, Derrida’s work reiterates and sends on the democratic appeal he inherits: “When will we be ready for an experience of freedom and equality that is capable of respectfully experiencing that friendship, which would at last be just, just beyond the law, and measured up against its measurelessness?” (Politics 306). Yet it still seems to me that Rogues is circumspect about “democracy to come.” This difference however is not conceptual–nor has Derrida’s evaluation of democracy as an ideal, or of liberal democratic states as a partial success and a partial failure in relation to that ideal, changed. Rather, the change from “democracy to come” to the suicidal democracy of the autoimmunitary system must be understood first and foremost as a political shift. Particularly in the first essay, I am tempted to believe that faced with an admiring crowd, gathered to discuss “democracy to come,” faced with the risk of the complacently remoralized deconstruction, the “consensus of a new dogmatic slumber” against which he warned in “Passions,” Derrida wanted to make democracy look as ambiguous as possible (“Passions” 15). My suggestion is that we might understand his account of democracy in terms of autoimmunity as a definite development, although perhaps not a substantial alteration, of what was already a deeply ambivalent portrait of democracy.

     

    I have cited Derrida’s remark in Rogues that he may never have been entirely serious about democracy. But what Derrida does not quite say is that his use of the word “democracy” will always have been itself a question of political strategy, meaning in part that he chooses to employ a particular vocabulary in a particular context, but also implying that a certain type of engagement will have forced itself upon him, will have seemed necessary. However, in interviews of the period in which he began to use the phrase, this sense of strategy is quite clear. For example, in a 1989 discussion with Michael Sprinker, Derrida remarks that “perhaps the term democracy is not a good term. For now it’s the best term I’ve found. But, for example, one day I gave a lecture at Johns Hopkins on these things and a student said to me, ‘What you call democracy is what Hannah Arendt calls republic in order to place it in opposition to democracy.’ Why not?” In fact Derrida insists that his use of the word democracy is a polemical and political intervention: “in the discursive context that dominates politics today, the choice of the term [democracy] is a good choice–it’s the least lousy possible. As a term, however, it’s not sacred. I can, some day or another, say, ‘No, it’s not the right term. The situation allows or demands that we use another term in other sentences’” (Negotiations 181). In his 2003 decision to be a co-signatory with Jürgen Habermas of a call for a specifically European political initiative, Derrida seems to be going against his earlier warning in The Other Heading (1991) about assigning such a privilege to the idea of “Europe.” But this should remind us that such warnings are always bound to contexts.

     

    Because of this insistence that we must use particular words here and now, although this does not necessarily add up to a particular political program, I propose that we consider Derrida’s use of the phrase “democracy to come” as a tactical, indeed as a political, action. It is a pledge of faith in something attested to in democracy, in both the history of the concept and in the democracies of the contemporary world; but it is also a capitulation to the demand for deconstruction’s political secret, which Derrida had refused to provide for many years. The timing is critical. Although it actually precedes Derrida’s decision to finally address Marxism openly in Specters of Marx (1993), Derrida confirms in Rogues that he first uses the phrase “democracy to come” in the long introductory essay to the collection of his previously published essays on the university, The Right To Philosophy, in “1989-1990” (Rogues 81-2; cf. Who’s Afraid 22-31). My suggestion is that both gestures need to be understand as attempts to maintain a critical stance in the face of the supposed post-Cold War triumph of liberal democracy following the fall of the Berlin Wall. In this context it seems as if the phrase “democracy to come” may well be an attempt to say something critical about the so-called democracy of the times, in underlining an obligation for democracy to continue to transform and improve itself. But wishing to avoid both the inevitable accusations of nihilism and the charge of political naïvety in being unable to differentiate democracy and totalitarianism levelled by Claude Lefort in a combative paper to Phillipe Lacoue-Labarthe and Jean-Luc Nancy’s Centre for Philosophical Research on the Political in 1980, Derrida has to find a way to retain the name of democracy, while reserving a space for its equally urgent critique.

     

    Over a decade later, and in changing geopolitical circumstances, Derrida re-issues his appeal for a “democracy to come,” but the terms in which it is phrased have hardened. What do we gain politically by translating “democracy to come” into “autoimmunity”? We learn that modern democracies may be seen to be caught up in a permanent process of self-destruction, inseparable from their attempts to sustain their own existence. Democracy, the legal and political frameworks of the sovereign state, can secure all kinds of goods, but only at the cost not only of others–Derrida refers to the classical example of the tensions between liberty and equality–but also of its own existence. To the extent that it protects itself, that its borders are patrolled and its immigrants counted and controlled, the state is no longer democratic, it closes itself against the future; yet to the extent that the rule of law is not maintained, that the boundaries of its territory are indeterminate or its citizens undifferentiated from others, the state no longer exists, and we are no longer able to speak of anything like a democracy, and certainly not of a democracy to come, that seems to depend upon the survival of a particular tradition of critical and reflective thought linked to the state form. Derrida stresses the link between the autoimmunitary and undecidability. The suppression of civil liberties in the name of security may be legitimate in protecting democracy against those who are set against it, but it is also autoimmunitary in exposing the immune system, by which democracy defends itself from its enemies (and thereby threatens the principles of democracy), as an “a priori abusive use of force” (Voyous 65). We can extend these figures, should we so wish. A state whose repressive measures outlaw a peaceful opposition party will doubtless provoke more violent measures–may rule out the possibility of reform rather than revolution.

     

    So the idea of the autoimmunitary can help to sharpen our sense that the effort to maintain democracy will always threaten to erase the public goods that make it worthwhile. But that process of destruction, in threatening to create ever greater counterforces, will in turn open new possibilities for democratic change. In particular it shifts us away from the apparent promise of “democracy to come,” and clarifies a mode in which we might undertake the analysis of actually existing democracy, as well as the theoretical and philosophical tradition that underpins it. (This looks like a shift from one philosophy of history to another, from a more messianic account to a more dialectical one: this might be seen as problematic, had we not learned from Derrida the impossibility of doing without metaphysics, so long as such schemes are subject to a perpetual critical and deconstructive vigilance.) Politically, I think the idea of democracy’s autoimmunitary systems might serve to bulwark a skepticism against the attack on freedom in the name of security. Democracy’s exposure is the price of its liberties; while democracy’s closure, its need to secure its borders, its need for a mediated system of political representation, contravenes the unconditional principles of democracy to come, and so threatens it as democracy. There can be no question of programming decisions here: no one can dictate the balance of liberty and security in a particular situation, just as no one can predict what degree of protection a democracy will finally provide for those minorities sheltered within. Derrida’s work on hospitality suggests that there is only hospitality when it is offered unconditionally, that is to the point at which the guest becomes the host in my place, when I no longer insist on asking the stranger his name in my language rather than in his. But this does not lead to the conclusion that all restrictions on immigration, even though they are always unjust, and we must work for less unjust laws, should be lifted. To do so would be to dissolve the constraints that define and protect the democratic space being offered to the newcomer. Similarly, we can only expect so much of democracy, so long as the political form most devoted to freedom and equality remains linked to security, property, sovereignty, state, territory, people, or nation.

     

    VI

     

    Derrida’s ultimate target in Rogues may not be democracy after all, but sovereignty, and with it our sense of propriety, of sanctity and security, of the supposedly legitimate force wielded over any body, state, or identity. Derrida underlines another double bind. As we have seen, democracy depends on something like sovereignty: there can be no democracy without political control over a territory, a population; but democracy also means that same political control must in turn be subject to the authority of the people. The demos is a threat in any regime: democracy is suicidal in enshrining that threat at the heart of the regime. A whole tradition, the most insistent modern representative of which is Carl Schmitt, has argued that sovereignty is indivisible or is nothing. Derrida will agree with Schmitt, and with the tradition, that sovereignty must be indivisible, but, like other exceptional and sovereign features of the philosophical in which Derrida has taken an interest–reason, decision, responsibility, forgiveness, exception, presence–this means sovereignty is also impossible. It can never achieve the indivisibility it claims as its prerequisite. To the extent that it seeks to do so, it must enforce the law with violence. Derrida reminds us that “there are in the end rather few philosophical discourses, assuming there are any at all, in the long tradition that runs from Plato to Heidegger, that have without any reservations taken the side of democracy” (Rogues 41). Might this be because the sovereignty of reason is itself threatened by the figure of democracy, the arguments of the philosophers by the voices of the people? Just as deconstruction seeks to open philosophy to its outside, so the faltering of sovereignty within democracy needs to be exposed.

     

    Derrida argues that there are always “plus d’états voyous“–“(No) more rogue states” (Rogues 95-107)–than you think. The idiom resists translation: there are always no rogue states, and always more rogue states. Being “voyou” is inscribed into the very principle of sovereignty, into the constitution of every state. The play on the idea of rogue state is an explicit attempt to link geopolitical reflection, and in particular a contestation of the right of the United States to identify and vilify particular “Rogue States,” to the more profound sense that all sovereignty is somehow abusive and violent. Yet where the retort that takes the United States as the exemplary rogue state has a clear political and polemical force, Derrida seems to risk going astray: if states are rogue not in exceptional circumstances, but by default, isn’t there a temptation to shrug one’s shoulders?

     

    As soon as there is sovereignty, there is abuse of power and a rogue State. Abuse is the law of its use; it is the law itself, the "logic" of a sovereignty that can reign only without division [partage]. More precisely, since it never succeeds in doing this except in a critical, precarious and unstable fashion, sovereignty can only tend, for a limited time, to rule indivisibly [sans partage]. (Rogues 102, translation adapted)

     

    We’re faced with the same dilemma that arises from a “democracy to come”: that if all politics is hostile to democracy, just as all politics is an opening to more democracy, more equality, more justice, how are we to choose and prefer some politics rather than other politics? If all states are rogue states, which should we denounce?

     

    Yet the emphasis he places on “plus de” shows that Derrida acknowledges this problem. If there are only rogue states, there are no rogue states: the distinction appears to lose its force. This is no excuse to back away from politics itself, nor for a resignation in the face of the future: patience need not mean waiting. Despite the fact that “there is something of a rogue state in every state [and] the use of state power is originally excessive and abusive” (Rogues 156),

     

    it would be imprudent and hasty, in truth hardly reasonable, to oppose unconditionally, that is, head on, a sovereignty that is in itself unconditional and indivisible. One cannot combat, head on, all sovereignty, sovereignty in general, without threatening at the same time, beyond the nation-state figure of sovereignty, the classical principles of freedom and self-determination. . . . Nation-state sovereignty can even itself, in certain conditions, become an indispensable bulwark against certain international powers. (Rogues 158)

     

    Despite its opposition to nationalism, as an exemplary form of political brotherhood, deconstruction cannot dictate a categorical opposition to the idea of “nation,” not least where it might provide a point of resistance to imperialism, and precisely in the name of democracy. The deconstruction of reason, and of its political logic of sovereignty, is not to be accomplished by simply opposing democracy to sovereignty, or by setting security against freedom. The relation between these figures is more complex; to appeal to “democracy to come” is one way of saying this–to underscore the autoimmunity of democracy, of sovereignty, of reason, is another. “Democracy to come” highlights an insufficiency within any and every existing or possible democracy, while promising more rather than less democracy: but the figure of suicidal democracy emphasizes instead that what promises more democracy may well be the extent to which democracy takes risks. The distinction is one of words, that is to say of the different strategies that evolving political contexts may call forth. But the deconstruction of sovereignty cannot mean the rejection of sovereignty.

     

    In an interview given shortly before his death on 9 October 2004, Derrida confesses to two “contradictory feelings” concerning the legacy of his thought: “on the one hand, to say it smiling and immodestly, I feel that people have not even begun to read me, that if there are very many good readers (a few dozen in the world, perhaps), they will do so only later. On the other hand, I feel that two weeks after my death, nothing at all of my work will be left” (“Je Suis”). This is a question of a legacy, of the past, but also of the future. I have argued that in Rogues Derrida continues to develop his analysis of democracy, and to some extent might be seen as backing away from the syntax of “democracy to come.” As elsewhere, what Derrida is really interested in is a future that cannot be identified in advance, since it would be a break with all the old names. Democracy without sovereignty might no longer be democracy, either. Yet for all this talk of the future, Derrida does not mean us to turn away from what is happening now. Autoimmunization, with its insistence on a process that is always already underway, for all its potential confusions–and it’s clear that, as Gasché comments, this must be understood “far beyond the biological processes” (297)–may prove a more useful starting point. As in the case of the link between sovereignty and democracy: “such a questioning [of democracy] . . . is already under way. It is at work today; it is what’s coming, what’s happening. It is and it makes history” (Rogues 157). In his 1981 interview with Richard Kearney, Derrida remarked that “the difficulty is to gesture in opposite directions at the same time: on the one hand to preserve a distance and suspicion with regard to the official political codes governing reality; on the other, to intervene here and now in a practical and engagé manner whenever the necessity arises” (120). Although Derrida is silent on the subject in Voyous, we must reserve a place for the possibility that what is coming will not be democracy, or might no longer be usefully called democracy. Despite its prominence in his work since 1990, we cannot take Derrida’s engagement with democracy to be the last word on the politics of deconstruction.

     

    VII

     

    Because Derrida’s death is written into every single word he ever wrote, so his literal, physical decease changes nothing. No philosopher has insisted so completely and so powerfully on the fact that one’s future demise is a necessary precondition of one’s every utterance. Friendship is always mourning, because it must always anticipate the death of my friend. As Derrida described it in mourning his own friend Paul de Man,

     

    the strange situation I am describing here, for example that of my friendship with Paul de Man, would have allowed me to say all of this before his death. It suffices that I know him to be mortal, that he knows me to be mortal--there is no friendship without this knowledge of finitude. And everything that we inscribe in the living present of our relation to others already carries, always, the signature of memoirs-from-beyond-the-grave. (Memoires 29)

     

    This situation is neither to be regretted nor condemned, since it is what makes friendship possible: “there belongs the gesture of faithful friendship, its immeasurable grief, but also its life” (Memoires 38). Returning to this theme in Politics of Friendship, Derrida remarks: “I could not love friendship without engaging myself, without feeling myself in advance engaged to love the other beyond death. Therefore, beyond life” (12). Our first engagement with the thought of Jacques Derrida will always have condemned us to suffer his loss. But then, as he famously argues in Speech and Phenomena, his death was already predicted and anticipated in every word he wrote: “My death is structurally necessary to the pronouncing of the I. . . . The statement ‘I am alive’ is accompanied by my being dead, and its possibility requires the possibility that I be dead, and conversely” (Speech 96-7). If Derrida’s death was always inscribed in his writings, we must refuse the temptation to ascribe his work a provisional or hypothetical unity based on its finally delimited finitude: its physical completion should not be allowed to dictate a conceptual closure. This means seeking not only to reconstruct the steps in the trajectory of his own work, but also continuing to challenge and renew his questioning, to think it in other ways, and in other words.

     

    In a short and lucid article on Derrida’s political thought, Geoffrey Bennington argues that “deconstruction on the one hand generalises the concept of politics so that it includes all conceptual dealings whatsoever, and on the other makes a precise use of one particular inherited politico-metaphysical concept, democracy, to make a pointed and more obviously political intervention in political thought” (32-3). There is a danger in this account that it returns us to democracy: that democracy might become the last word, the only word, through which deconstruction might seek to engage politically. The inverse of such a risk is that any existing democracy could seek to shore itself up with the prestige of a deconstructive logic. I have argued that this need not be the case, and that “democracy” is only one word under which a political intervention might be made. Yet there are places in his work where Derrida does seem to grant a particular privilege to democracy, which must mean not only a concept but also a name and a particular historical tradition. For example, in the Borradori interview:

     

    Of all the names grouped a bit too quickly under the category "political regimes" (and I do not believe that "democracy" ultimately designates a "political regime"), the inherited concept of democracy is the only one that welcomes the possibility of being contested, of contesting itself, of criticizing and indefinitely improving itself. ("Autoimmunity" 121)

     

    Democracy, he continues, “would be the name of the only ‘regime’ that presupposes its own perfectibility” (121, emphasis added).

     

    This is a figure of intense ambivalence. Is democracy the only site of a political invention of the future? Is democracy the only possible name for such an invention? Does the Western philosophical tradition, do the Western liberal democracies, offer the only spaces in which alternative political possibilities might develop? Is there really no future for politics, for deconstruction, outside of democracy? This remains to be seen. Derrida insists that democracy is always and will always be a question of what is to come. The challenge of a political invention of the future, and this is perhaps where deconstruction’s real radicalism lies, is the acknowledgment that what makes a new politics possible is that which also threatens to destroy politics. Only a state willing to consider the surrender of its own sovereignty, to place equality before security, only a suicidal democracy might live up to the idea of a “democracy to come.” This may seem a long way to go in the current political climate–or indeed in any political climate. But we should remember that by the logic of the autoimmunitary process, the logic of deconstruction itself, even a state that appears to be drawing rapidly away from democracy may in fact be exposing itself even more to the possibility of what remains to come.

     

    Notes

     

    An early version of this essay was presented to the conference “Derrida: Negotiating the Legacy” at the University of Aberystwyth, January 2005. I would like to thank both the organizers, the Aberystwyth Post-International Group, and the participants for their responses to the paper. I am also grateful to the editors of this special issue of Postmodern Culture for their suggestions.

     

    1. Where I associate a date with Derrida’s works, it is not usually the date of first publication, but the date the work was first presented in public, at which an interview was given, or the date of revision where one is indicated in the published text. This is an attempt to suggest a more accurate chronology for Derrida’s writings than that provided by the somewhat erratic order of their publication.

     

    2. The ambiguities raised by Derrida’s choice of example, and the apparent confrontation in the Algerian political process between a Christian Enlightenment heritage and the question of Islamism, are deliberate.

     

    3. I make this argument in part 3 of Deconstruction and Democracy. Derrida suggests elsewhere that his later engagement with Levinas has been overdetermined by a political question: the need to rearticulate Levinas in order to rescue his work from a growing religious and moralistic appropriation (see Papier Machine 366; see also comments by Hent de Vries in the Preface to Minimal Theologies xix-xx).

     

    4. Politics of Friendship is presented as a transcript of Derrida’s seminar of 1989-1990 of the same title. This would make the use of “democracy to come” in the text contemporary with its use in The Right to Philosophy. However one assumes that the text has been revised for publication (in 1994). Since it shares many features in common with Specters of Marx (first presented and published in 1993), which does make some use of “democracy to come,” but also with “Force of Law: The ‘Mystical Foundation’ of Authority” (first presented in 1989 and 1990, and published in English in 1990, before being slightly revised for the French edition of 1994), which makes very little, my guess is that many of the references to “democracy to come” are later additions, but that “democracy” is certainly on Derrida’s agenda for the first time in 1989-1990. A textual criticism to come will prepare us to answer such questions, and begin to read Derrida with the attention to singularity his texts demand.

     

    Works Cited

     

    • Arditi, Benjamin. “Populism as a Spectre of Democracy: A Response to Canovan.” Political Studies 52 (2005): 135-43.
    • Bennington, Geoffrey. “Derrida and Politics.” Interrupting Derrida. London: Routledge, 2000.
    • Critchley, Simon. Ethics–Politics–Subjectivity. London: Verso, 1999.
    • Derrida, Jacques. “Autoimmunity: Real and Symbolic Suicides.” Trans. Giovanni Boradorri. Philosophy in a Time of Terror: Dialogues With Jürgen Habermas and Jacques Derrida. Chicago: U of Chicago P, 2003. 85-136.
    • —. “Deconstruction and the Other.” Interview with Richard Kearney. Dialogues with Contemporary Continental Thinkers. Manchester: Manchester UP, 1984. 107-26
    • —. “Faith and Knowledge: the Two Sources of ‘Religion’ at the Limits of Reason Alone.” Trans. Samuel Weber. Religion. Jacques Derrida and Gianni Vattimo. Cambridge: Polity, 1998. 1-78.
    • —. “Force of Law: The ‘Mystical Foundations of Authority.’” Trans. Mary Quaintance. Deconstruction and the Possibility of Justice. Eds. Drucilla Cornell et al. London: Routledge, 1992. 3-67.
    • —. “Je suis en guerre contre moi-même.” Interview with Jean Birbaum. Le Monde 18 Aug. 2004. Trans. Pascale Fusshoeller, Leslie Thatcher, and Steve Weissman. truthout 27 Aug. 2004. No longer available online.
    • —. Memoires for Paul de Man. Trans. Cecile Lindsay, Jonathan Culler, and Eduardo Cadava. New York: Columbia UP, 1986.
    • —. Negotiations: Interventions and Interviews, 1971-2001. Ed. and trans. Elizabeth Rottenberg. Stanford: Stanford UP, 2002.
    • —. The Other Heading. Trans. Pascale-Anne Brault and Michael Naas. Bloomington: Indiana UP, 1991.
    • —. Papier Machine. Paris: Galilée, 2001.
    • —. “Passions.” Trans. David Wood. On The Name. Ed. Thomas Dutoit. Stanford: Stanford UP, 1995. 3-31.
    • —. Politics of Friendship. Trans. George Collins. London: Verso, 1997.
    • —. “Positions.” Interview with Jean-Louis Houdebine and Guy Scarpetta. Positions. 1972. Trans. Alan Bass. Chicago: U of Chicago P, 1981. 37-96.
    • —. Rogues: Two Essays on Reason. Trans. Pascale-Anne Brault and Michael Naas. Stanford: Stanford UP, 2005.
    • —. Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Trans. Peggy Kamuf. London: Routledge, 1994.
    • —. Speech and Phenomena. Trans. David B. Allison. Evanston: Northwestern UP, 1973.
    • —. “Violence and Metaphysics.” Writing and Difference. Trans. Alan Bass. London: Routledge, 1978. 79-153.
    • —. Who’s Afraid of Philosophy: Right To Philosophy I. Trans. Jan Plug. Stanford: Stanford UP, 2002.
    • —. “A Word of Welcome.” Adieu: to Emmanuel Levinas. Trans. Pascale-Anne Brault and Michael Naas. Stanford: Stanford UP, 1999. 15-123.
    • Gasché, Rodolphe. “‘In the Name of Reason’: The Deconstruction of Sovereignty.” Research in Phenomenology 34 (2004): 289-303.
    • Habermas, Jürgen, and Jacques Derrida. “February 15th, or What Binds Europeans Together: A Plea for A Common Foreign Policy, Beginning in the Core of Europe.” Trans. Max Pensky. Constellations 10 (2003): 291-97.
    • Lefort, Claude. “The Question of Democracy.” Trans. David Macey. Democracy and Political Theory. Oxford: Blackwell, 1988. 9-20.
    • McCarthy, Thomas. Ideals and Illusions: On Reconstruction and Deconstruction in Critical Theory. Cambridge: MIT P, 1991.
    • Roberts, Hugh. The Battlefield: Algeria 1988-2002. Studies in a Broken Polity. London: Verso, 2003.
    • Thomson, Alex. Deconstruction and Democracy. London: Continuum, 2005.
    • de Vries, Hent. Minimal Theologies: Critiques of Secular Reason in Adorno and Levinas. Baltimore: Johns Hopkins UP, 2005.
    • Žižek, Slavoj. “Melancholy and the Act.” Critical Inquiry 26 (2000): 657-81.