Archive for the ‘climate catastrophe’ Category

Bibliophilia & Anarchism in Star Trek: Picard

October 7, 2022

Co-written by my mother and myself. Published on Perspectives on Anarchist Theory, 6 October 2022

Following up on our previous analysis of the political and philosophical affinities between Mikhail Bakunin and Richard Wagner, in which we discussed social ideologies such as feminism, sexism, anti-Semitism, and anarchist revolutionism in the epic opera The Ring (1874), we turn now to an examination of the first two seasons of Star Trek: Picard (2020/2022). We hope our artistic study of this television show might help to elucidate the anti-authoritarian themes present in its first and second seasons, as well as draw attention to the numerous literary allusions and extensive bibliophilia (‘book-love’) present in both. Our purpose here is to illuminate the anarchist values and revolutionary messages conveyed in the show through the presence of literature. Reader be forewarned: this text contains spoilers for both seasons.

Star Trek’s Radical Politics

The brainchild of former Army Air Force officer and ex-LAPD cop Gene Roddenberry (1921-1991), Star Trek paradoxically owes debts to the left-wing, counter-cultural, and Civil Rights Movements. As an experiment in psychological and sociological utopianism, set centuries to millennia from now, Star Trek combines “social critique and description[s] of human flourishing in a society […] quite unlike any other.”[1] To begin with, the first two notes of the series’ theme sample “Symphony No. 1” by Gustav Mahler (1860-1911), a Jewish Romantic composer and socialist-vegetarian.[2] In addition, the design of the flagship of multiple series, the USS Enterprise, is highly suggestive of a mushroom. As such, it may symbolically allude to the therapeutic and mind-altering functions of the fungus psilocybin, as psychedelic youth had learned during the 1960’s, and as psychiatry is now openly recognizing. Moreover, it was on the Enterprise in The Original Series (TOS, 1966-1969) that Lt. Nyota Uhura (played by Black actor Nichelle Nichols) served as communications officer. In this sense, the positive future envisioned by Roddenberry would involve Black women in positions of relative authority. It was also on this series, in 1968, that television’s first inter-racial kiss took place—this, between Lt. Uhura and Captain James Kirk.

Although the highest-ranking officers of the USS Enterprise in Star Trek: The Next Generation (TNG, 1987-1994) are (as in TOS) white males—Captain Jean-Luc Picard and Executive Officer William Riker—Lt. Geordi LeForge and Lt. Worf (played by LeVar Burton and Michael Dorn, respectively) are crucial to the Enterprise’s missions. Building on these precedents, Star Trek: Deep Space Nine (1993-1999) features the Black male Captain Benjamin Sisko, played by Avery Brooks, just as the Black female Captain Michael Burnham (Sonequa Martin-Green) stars in Star Trek: Discovery (2017-present). In addition, Discovery is unique in comparison to most of the other series, for it centers women and LGBTQ experience.

Not only does Star Trek promote feminist, internationalist, and LGBT-friendly messages, but it also champions anti-capitalism. The United Federation of Planets (UFP) depicted in the series symbolizes a future vision of ‘cosmic communism,’ whereby member planets unite in a cooperative, inter-species, and post-capitalist association, while the peoples of Earth abolish poverty and class in parallel. As José-Antonio Orosco observes, Star Trek’s “vision of the future is one that puts a radical anti-racist, egalitarian, post-colonial, and environmentalist message at its core.”[3]

That being said, if the Federation is progressive, it is not necessarily anarchist. Although its anti-authoritarian rationalism shares much with the anarcho-communist vision, the UFP has not abolished military rank or bureaucracy. Moreover, as we see during flashback sequences in Picard, season 2, patriarchal family structures exist within the Federation. Speculatively, it may be due to Roddenberry’s rumored attraction to Trotskyism and membership in the Socialist Workers Party (SWP) that the Federation resembles the Fourth International, which was founded in 1938 by former Red Army commander Lev Trotsky himself. Perhaps echoing such politics, in TNG, the Federation’s totalitarian nemesis, the Borg, brings to mind the “dystopian socialism” espoused by Stalinists. Seen this way, the travels of the Enterprise, Discovery, and Picard’s La Sirena can be viewed as visionary explorations in permanent revolution that champion socialist and anarchist values.

Read the rest on Perspectives on Anarchist Theory!

From “Trotsky in Tijuana” to “Chernobyl”: Caution & Reason

July 22, 2022
“Chernobyl,” photographed by Jorge Fraganillo (Creative Commons Attribution 2.0)

Originally published on Perspectives on Anarchist Theory, 21 July 2022

The promise of historical and speculative fiction is the reconstruction of the past in the present, or of the present in the past, and the contemplation of what might have been, or of what might still be. As the psychoanalyst Sigmund Freud wrote, creative writers furnish “world[s] of [their] own” by “rearrang[ing] the things of [their] world in a new way which pleases [them].”[1] Between Dan La Botz’s novel Trotsky in Tijuana (2020) and Craig Mazin and Johan Renck’s HBO miniseries Chernobyl (2019), we find two fictionalized accounts bookending the tragic history of the Union of Soviet Socialist Republics (USSR), from the Bolshevik centralization of power following the anti-Tsarist Revolution of 1917 to what Rohini Hensman terms the “democratic anti-imperialist revolution” of 1991.

Trotsky in Tijuana is an intriguing and well-written book of alternate (or counter-) history, in which La Botz imagines Lev Davidovich Trotsky (1879–1940) surviving his assassination in Mexico City by the Spanish Soviet agent Ramón Mercader. In La Botz’s vision, the famed Ukraine-born Jewish Marxist then continues to organize against social-democratic reformism and Stalin’s Communist International through his organization, the Fourth International. This book combines neo-Trotskyist critique of Stalinism with libertarian-socialist themes as an imaginative “second world” to our own, illuminating divisions on the left among anarchists, Trots, and “tankies” (who support “anti-imperialist” dictators). Yet, as we shall see, despite the novel’s beauty and insights, Trotskyism appears to overpower anarchism in La Botz’s historical retelling.

For its part, the Chernobyl miniseries dramatizes the explosion that took place on April 26, 1986, within the core of the Vladimir I. Lenin Nuclear Power Plant, located near the cities of Pripyat and Chernobyl in northern Ukraine. Chernobyl lays bare the dangers of nuclear energy specifically and technological hubris more broadly, while implicitly critiquing Soviet State capitalism and, perhaps by extension, private forms of capitalism—like those we confront in the United States. Chernobyl shows how the combination of workplace hierarchy, high technology, hyper-masculinity, and the performance principle threatens our collective self-destruction.

On February 24, 2022, Russian military forces invaded Ukraine as part of a brutal campaign announced by President Vladimir Putin to supposedly “demilitarize and de-Nazify” the country. However, this “denazification” campaign in reality represents yet another instance of white Russians carrying out genocide. Having penetrated Ukraine’s northern border, the Russian army quickly overran the Chernobyl site, where, for over three weeks, the facility’s workers were forced by the occupiers to work nonstop. The radiation spike seen at Chernobyl at the start of the Russian invasion—a twenty-fold increase—can be explained by the churning of irradiated soils through the movement of military hardware.

On March 3 and 4, 2022, Russian shelling on the Zaporizhzhia Nuclear Power Plant in southeastern Ukraine—Europe’s largest nuclear plant—set an administrative building on fire. Fortunately, the site’s six reactors (better protected than their now-deactivated counterparts at Chernobyl) remained undamaged, and as of early March, local levels of radioactivity were normal. Even so, we should bear in mind the warning of Professor Kate Brown, author of Manual for Survival: A Chernobyl Guide to the Future (2019), that “any […] nuclear even[t]” cannot be “isolated within sovereign borders,” owing to the physics involved. In this light, although Russian forces withdrew from the Chernobyl region in early April, Putin’s threats of nuclear blackmail following the invasion remain unsettling.

In this article, I will review Trotsky in Tijuana and Chernobyl from an anti-authoritarian perspective by exploring some of the overlap with, and divergences from, anarchism in these artistic works. I will also present an overall critique of nuclear energy, to contrast with the ideological support Chernobyl’s screenwriter, Mazin, provides to the industry—regardless of the scope of the disaster he portrays.

Front-5

Trotsky in Tijuana

In Trotsky in Tijuana, Natalia Ivanovna Sedova, Trotsky’s second wife, fatefully questions the man she knew as Frank Jacson’s choice to wear a heavy raincoat during a visit to their fortress-home in Coyoacán on August 20, 1940. However, in La Botz’s counternarrative, Sedova’s doubts do not go unheard. Historically, Mercader wore this same coat to cover up the ice ax he would use to fatally injure the exiled communist revolutionary, as the latter reviewed an essay with which his counterpart sought to distract him. Yet, in La Botz’s imagination, Ralph Bucek, a fictional US-American guard of the “Old Man,” enters his charge’s office and hits the Spaniard in the head with a baseball at the last moment, saving the day.

Rather than replay Trotsky’s murder—as John P. Davidson’s novel The Obedient Assassin (2014), Antonio Chavarrias’s film El Elegido (The Chosen, 2016), and the Russian TV miniseries on Trotsky (2017) do—La Botz’s book envisions the founder of the Red Army escaping this brush with death through exile to Baja California, where he continues to theorize about current events, especially World War II, and even find time for erotic love.

Not long after Trotsky, Sedova, and their retinue resettle in the so-called Cantú house in Tijuana, Trotsky’s own anarchistic secretary, Jan van Heijenoort, abandons Mexico for Europe, plotting a long-term mission to assassinate Stalin. La Botz imagines that Van’s plan dovetails with the “doctors’ plot” of 1953, when Soviet Jewish physicians had supposedly conspired with Western imperial powers to murder Stalin, his propagandist Andrei Zhdanov, and other party bosses. In retaliation for the discovery of this “plot,” Stalin ordered the arrests of hundreds of Soviet Jews and/or physicians, and planned to expand the Gulag to imprison more Jews, in a final homage to his “frenemy,” Adolf Hitler. Yet, just as a possible second Holocaust and nuclear war between the USSR and the West are threatened, La Botz’s depiction of Van’s assassination plot succeeds. The same day, the Soviet agent “Étienne” (Mark Zborowski)—who had murdered Trotsky and Sedova’s son, Lev Sedov, in Paris, and then boldly posed (in La Botz’s imagination) as Trotsky’s new secretary in Tijuana—kills Lev Davidovich by poisoning.[2]

While La Botz is sympathetic to his martyred subject, he is not uncritical toward the Bolshevik leader’s legacy. He surely does not shy away from depicting Trotsky’s narcissistic, delusional, and dogmatic tendencies. Rather, he insinuates the need for twenty-first-century updates to the brightest ideas of this “polymath,” who was “lost in time.” These ideas include class struggle, the united front, and the permanent revolution. Historically speaking, Trotsky adapted the last of these from the French anarchist Élisée Reclus, who asserted in 1899 that “[a]s long as iniquity endures, we, international anarcho-communists, will remain in a state of permanent revolution.”[3]

This dynamic only reinforces the anarchist hypothesis that Marxists aim to appropriate revolution for themselves and their bureaucratic franchises, rather than the liberation of the working classes and humanity—as Marx’s own expulsion of Mikhail Bakunin and James Guillaume from the First International in 1872, and Lenin and Trotsky’s crushing in 1921 of the Kronstadt Commune and of the peasant-anarchist Revolutionary Insurgent Army of Ukraine, prove. While the mutiny by Red sailors at Kronstadt demanded that the Russian Revolution advance without the dead weight of the Communist Party, the Revolutionary Insurgent Army was cofounded by the Ukrainian peasant guerrilla Nestor Makhno, who also organized with the Nabat (Tocsin) anarchist confederation after the fall of Tsar Nicholas I in 1917. Despite the Makhnovists’ proclamation of free soviets and their actions that arguably saved the Revolution through their fierce resistance to the reactionary White armies during the Civil War (1918–21), just as the Kronstadt sailors had previously served the cause at key points, forces loyal to Red Army commander Trotsky crushed both groups.

Notably, La Botz does not acknowledge that Lev Davidovich Bronstein adopted the surname Trotsky in 1898, after his jailer in Odessa. Psychoanalytically, this choice suggests identification with the aggressor, which is consistent with sociopolitical authoritarianism.[4] Arguably in this sense, there is a direct line from Lev’s adoption of his prison warden’s name to his own atrocities in the Revolution. Indeed, Trotsky in Tijuana’s coverage of the Russian Revolution conveys its author’s neo-Trotskyism. For instance, throughout the novel, the totality of the revolution is reduced to the Bolsheviks’ October 1917 seizure of power, with little to no mention of the “people’s epic” from February 1917, which in fact began the earthquake. This elision amounts to a minimization of the role played, specifically, by the proletarian women who lit the spark in Petrograd that overthrew the Romanov Tsars. La Botz even suggests that “revolution” emanated from Lenin’s persona, as though this were his superpower. Likewise, in a 2015 column in New Politics, the author writes that in both “February and October 1917,” the “Bolshevik[s] led the Russian working class to overthrow the Czarist autocracy.” The only problem with this claim is that all of the Bolshevik leaders were in exile during February 1917.[5]

In reality, the book glosses over its subject’s wickedness, in a move that functions to boost Trotsky’s radical credentials. Although La Botz acknowledges that the Bolsheviks “incorporated […] Tsarist officers” into the Red Army early on, the mass murder of the insurgent Kronstadt sailors—overseen by Trotsky in March 1921—is not mentioned until the second half of the book. At that point, La Botz describes the war commissar as merely “support[ing] the decision” to suppress the mutineers, rather than supervising the ex-Tsarist officer Mikhail Tukhachevsky’s use of overwhelming force toward this end.[6] Neither Makhno nor the Makhnovshchina is mentioned at all.

In short, while La Botz’s historical counternarrative champions direct action and critiques bureaucratic authoritarianism, the author’s affection for the “Old Man” somewhat clouds the novel’s treatment of the period between 1917 and 1921. A more anarchist approach might have portrayed Lev Davidovich as haunted by the counterrevolutionary brutality he oversaw and carried out during that time. Although La Botz’s condemnation of Stalinism is most apt—especially in light of “tankie” support for Putin’s war crimes in Syria and Ukraine—and despite the author’s good-natured satire of the titular character, the story neither adequately questions the role of “revolutionary” authority nor proclaims that it is the workers and peasants, not the party, who drive revolutionary change.

ChNPP_Unit1control

“Control room of the Chernobyl Nuclear Power Plant,” Carl A. Willis (Creative Commons Attribution 3.0)

What Happened at Chernobyl in 1986?

Like Marx, Lenin, and Stalin, Trotsky was an enthusiast of bourgeois principles of management, political centralism, and the domination of nature. When crystallized in high-risk technologies such as nuclear energy, it is unsurprising that such Promethean social ideologies, imaginaries, and institutional structures would result in disasters like the one experienced at the Vladimir I. Lenin Nuclear Power Plant, featured in Chernobyl.[7]

The basic idea of nuclear fission is this: uranium, after having been mined and enriched, is subjected to neutron bombardment in a nuclear plant’s reactor core. This leads to the fission, or splitting, of the nuclei of uranium, and the resulting production of intense heat, or radiation. This radiation is then combined with coolant to produce high-pressure steam, which in turn moves turbines, thus producing electricity.[8] The RBMK-type reactor used at Chernobyl, as in many other Soviet nuclear power plants, shared this basic function with the Western light-water reactors (LWRs) presently in use. One of the major differences between the two designs, however, is that RBMK reactors lacked the steel-reinforced containment shields surrounding the core found in LWRs.

On April 26, 1986, a safety test was scheduled to be performed within Chernobyl’s reactor number 4 during the day shift. However, to accommodate the needs of Soviet state capitalism, the test was delayed by ten hours, leaving it to the less-experienced night shift. As part of this experiment, the plant’s crew deactivated the automatic safety and warning systems, including the emergency cooling system. They also removed most of the control rods from the reactor core, lowering energy output far below normal. Accordingly, without adequate power to pump water into the reactor to either remove excess heat or produce electricity, the core became unstable.[9]

At this point, Chernobyl depicts several of the plant’s workers, all of whom present as cisgender men, as protesting the idea of proceeding with the safety test. Nevertheless, reflecting toxic masculinity and the phenomenon of abusive supervision, Anatoli Dyatlov, the plant’s chief engineer, orders the experiment to proceed. Linking megalomania and the performance principle (or the compulsion to keep the capitalist machine going) with the masculine derogation of femininity, Dyatlov bullies his subordinates, Aleksandr Akimov and Leonid Toptunov, into obedience. He does so by threatening their jobs, and specifically by associating Toptunov with his mother, due to his youthful and androgynous appearance.[10] Then, when the test goes haywire, Akimov engages the emergency shutdown system known as AZ-5, thus introducing graphite-tipped rods into the reactor core. This unexpectedly increases reactivity, leading to a chain reaction that causes a critical buildup of steam, a partial meltdown, and a core explosion that would irradiate much of Ukraine, Belarus, Russia, and the rest of Europe.

Chernobyl tells the dramatic tale of this experiment gone awry, together with some of the responses taken by the state, individuals, and collectives to this unprecedented catastrophe. Mazin and Renck portray desperate scenes of exploited labor, as firefighters and helicopter pilots struggle to douse the numerous fires set off by the explosion, miners are forced at gunpoint to build a tunnel beneath the reactor to accommodate a heat exchanger, and human “bio-robots” are used to clear radioactive debris from the facility’s roof. Notoriously, the firefighters who initially responded were neither warned of the risks of exposure, nor provided any sort of protective equipment. As a result, many of these working-class heroes died of acute radiation syndrome. Still, this grisly story foregrounds the state capitalist domination of (cis) men: with the exceptions of female nurses attending to irradiated patients and the fictional Soviet physicist Uma Khomyuk, who is an amalgam of the scientists investigating the incident, women are mostly absent from Chernobyl.

Èernobyl - památník požárníkù

“Monument to Those Who Saved the World,” photographed by Martin Cígler (Creative Commons Attribution 3.0)

Trotsky and Chernobyl’s Critiques of Party-Boss Despotism

In terms of understanding the destruction of the Russian Revolution, the Chernobyl nuclear disaster, and the subsequent collapse of the Soviet Union, we might benefit from contemplating the close relationship between Leninism and Stalinism. In Trotsky in Tijuana, La Botz includes Trotsky’s insightful prediction that the Bolshevik Party would come to be dominated by Lenin, simply due to the pyramidal structure he proposed for it. The author portrays Stalin, as Lenin’s successor, being haunted by Trotsky’s accusation from 1927 that he was the “gravedigger of the Revolution!” Still, he entertains the idea that it was only Grigory “Zinoviev’s military Bolshevism,” a “Bolshevism characterized by authoritarianism and intolerance,” that had “created Stalinism”[11]—thus letting Lenin and Trotsky off the hook.

Even so, almost approaching Paul Mattick’s left-communist critique, La Botz explicitly acknowledges how wrong Trotsky was to consider the USSR a “workers’ state” of any kind.[12] As outlined in The Revolution Betrayed (1937) and other writings, the exiled theorist’s self-serving position about Stalin’s USSR being a “degenerated workers’ state” is perhaps understandable, but it is nonetheless delusional. Indeed, Trotsky’s own responsibility for the suppression of the Kronstadt Commune and the Makhnovist peasant-anarchist movement in Ukraine paved the way for his rival’s takeover. As the Bolshevik autocracy eliminated the most radical elements among workers, peasants, and fighters, it sealed the fate of the Revolution: namely, to give rise to a Communist hell.[13]

Along these lines, Chernobyl can be seen as a visual exploration of the horrors of bureaucracy, state capitalism, and high technology. To protect the reputation and power of the Communist Party of the Soviet Union (CPSU), the Politburo executives covered up and downplayed the news from Chernobyl from the start. Reflecting the lack of freedom of the press, free speech, or freedom of movement evident in the Soviet Union, authorities forced Western correspondents to remain in Moscow in the aftermath of the accident. Meanwhile, the KGB filtered information flows from the disaster site. In reality, the “two million residents of Kyiv,” located eighty miles from the plant, “were not informed despite the fallout danger, and the world learned of the disaster only after heightened radiation was detected in Sweden.” Mikhail Gorbachev, the CPSU’s last general secretary, did not publicly acknowledge the reality of the situation until May 14, well over two weeks after the explosion. In fact, despite Ukrainian appeals to the contrary, Gorbachev ordered the 1986 May Day march to proceed in Kyiv, so as to feign that the explosion posed no health risk to the public—this, despite the fact that the winds were then carrying fallout toward the city.[14]

The injustice of the situation is accentuated by Con O’Neill’s almost mafioso performance as Viktor Bryukhanov, Chernobyl’s manager. Shielded from the risks faced by workers, Bryukhanov keeps a lid on vital information as he sacrifices first responders. Echoing not only tsarist times, when St. Petersburg was constructed on wetlands using the mass conscription of serf labor, but also Stalin’s deportations, forcible collectivization, and the “Great Patriotic War” against the Germans, the CPSU mobilized over six hundred thousand so-called “liquidators” to deal with the fallout from Chernobyl. A 2005 report from the Irish Times finds that since 1986, twenty-five thousand liquidators had died, and that seventy-thousand had been permanently disabled.

While it set the stage for the collapse of the Soviet Union, as Gorbachev later admitted, the Chernobyl nuclear disaster caused 350,000 people to be permanently resettled, and its radioactive emissions have coincided with a regional increase in childhood thyroid cancer rates. While Mazin conveys a death toll of between four thousand and ninety-three thousand owing to the accident, Kate Brown estimates that “[b]etween 35,000 and 150,000 people died from cancers, heart problems, [and] autoimmune disorders” resulting from the disaster. Plus, as the recent movements of Russian units have reminded us, the soils surrounding Chernobyl remain highly irradiated. Ominously, less than a month into the all-out war, forest fires began to erupt, sending airborne radiation levels skyrocketing.

Chernobyl, Eros, and Anarchism

Perhaps surprisingly for an HBO series, Chernobyl features themes sympathetic to queerness, anarchism, and their intersections. For instance, as Akimov confronts the moral distress of carrying out Dyatlov’s unreasonable orders to proceed with the safety test, he gently whispers to Toptunov: “I’m with you.” We can draw a parallel here to Herman Melville’s Moby Dick (1851), which proposes homoerotic union among the crew of the Pequod against the deranged Captain Ahab, who is leading them toward a watery grave. Tragically, in both cases, the crew do ultimately perish, in an allegory of the self-destructive tendencies of capitalism, the domination of nature, and toxic masculinity. In parallel, the miners from the Donbas region who are conscripted to build a tunnel under the stricken plant are shown as especially defiant to the authorities, in a way that may recall the Ukrainian peasant-anarchist movement led by Makhno. Though the miners agree to the CPSU’s terms, Mazin and Renck depict them as doing so proudly, in terms of laboring to save humanity. Furthermore, they are shown performing their communal work in the nude, and this verbal image suggests free love as a means to dissolving hierarchy, or what the late researcher Christopher Chitty refers to as “sexual anarchy.”[15]

On the one hand, Chernobyl celebrates the heroic labor and mutual aid performed during and after the disaster by workers, including engineers, first responders, nurses, miners, and scientists. On the other, it portrays party bosses, from Bryukhanov to Gorbachev, as parasites and autocrats. With this dichotomy in mind, in his review for the New York Times, Mike Hale complains about the miniseries’ “one-dimensional heroes and villains.” Perhaps Mazin and Renck exaggerate a bit, but then again, the bureaucratic authoritarianism exhibited by Dyatlov and his superiors follows from the Soviet context, established by “Red hangmen.”[16] After all, the Soviet political system was based on a combination of the Tsarist “administrative utopia” and the “revolutionary statism” preached by Marx and Lenin.[17] Though he ended up killing Trotsky, Stalin “copied and far surpassed” his rival’s plan for the militarization of labor.[18]

In this sense, despite Chernobyl’s production by HBO, the visual narrative may well be influenced by Mazin’s own apparent solidarity with the struggle against class society. In his review on Red Flag (Australia) of the miniseries as an “anti-capitalist nuclear horror story,” Daniel Taylor observes that “the disaster we’re seeing is transpiring in, and largely a product of, a bureaucratic, managerial society divided into rulers and ruled, bosses and workers.”[19] Therefore, “strip away the Stalinist veneer and it is easy to recognise the system we have today: a managerial society run by bosses and bureaucrats who lie and kill to maintain their social dominance, and who threaten the whole world as long as they remain in power.” Taylor is right, but let us radicalize the implications beyond the nostalgia he expresses for Lenin and Trotsky. By focusing on the intersection of the exploitation of labor and ecological disaster, Mazin may be conveying implicit and/or unconscious sympathies with green syndicalism and social ecology, beyond democratic concerns about political dictatorship.

In parallel, we can draw lines from Trotsky and his Stalinist assassin Étienne, in La Botz’s presentation, to Dyatlov. Both Trotsky and Étienne are portrayed as automatons incapable of friendship, who typically view others only as tools, to be treated as either subordinates or superiors within a military hierarchy.[20] Such depictions, when juxtaposed with Mazin and Renck’s illustration of Dyatlov’s megalomania, communicate the continuities between Marxism-Leninism and bourgeois society—thus questioning what progress the Russian Revolution really brought. Indeed, in a chilling echo from the past, the blatant lie perpetrated by Trotsky and Lenin that the Kronstadt revolutionaries were led by tsarist officers—which subsequently inspired Stalin during his show trials—is now being reproduced by Putin’s regime, when it claims absurdly that Ukrainians are neo-Nazis.

Conclusion

Proponents of nuclear energy are often quick to dismiss the Chernobyl disaster as an aberration that reflects the flaws of both the reactor’s design and the Soviet autocracy, rather than any problems with nuclear fission as such. While the reactors in use today may be safer than the earlier Soviet designs, the 2011 disaster at the Fukushima Daiichi Nuclear Power Plant in Japan, provoked by a tsunami, still tells us that the lessons of Chernobyl have been neither learned nor applied. Moreover, besides the immediate safety issues owing to the risk of core meltdown, most nuclear fission plants in operation today share Chernobyl’s problems of radioactive waste disposal, dependence upon mining, and proliferation of materials usable in a nuclear weapon.[21] Much of this would also be true for the much-hyped hypothetical form of energy production known as nuclear fusion. Like the region surrounding Chernobyl, Diné (Navajo) lands and water-sources in the southwestern United States have been made into sacrifice zones for uranium mining concessions, resulting in radiation sickness and unusually high cancer rates among the Diné. Moreover, it is clear that nuclear energy has no role to play in averting catastrophic climate change.

Such critical thoughts, taken together with reflections on Mazin and Renck’s miniseries, may reveal the systemic nature of our predicament, linking Chernobyl with the Hiroshima and Nagasaki bombings, the Fukushima disaster, global warming, the current war by Russia on Ukraine, and ongoing nuclear brinkmanship. Both Chernobyl and Trotsky in Tijuana are cautionary tales and appeals to reason. While the former highlights “the dangers posed by Stalinism as a uniquely bureaucratic system of social organization,” the latter serves as a call for a united front among “all of us on the left who oppos[e] both Hitler and Stalin,” plus their contemporary followers.[22] While La Botz may not be as critical of Trotsky’s authoritarianism as I might like, his counter-history does recognize the importance of anarchism within revolutionary struggle. Looking to the future, the same mechanisms of social hierarchy, aggressive hyper-masculinity, and adherence to the performance principle that have driven catastrophes like Chernobyl and Russia’s war on Ukraine could be opposed and perhaps overcome by autonomous class struggle; internationalist, anti-militarist, and feminist resistance; and a global transition to wind, water, and solar energy.

Notes

[1] Sigmund Freud, “Creative Writers and Daydreaming,” Collected Papers, vol. 4, trans. Joan Riviere et al., ed. Ernest Jones (New York: Basic Books, 1953), 421.

[2] Dan La Botz, Trotsky in Tijuana (St. Petersburg, FL: Serge Books / BookLocker, 2020), 82–85, 91–92, 185–91, 422–50.

[3] Ibid., 24, 62, 196–69, 242–44, 305, 324, 328–29, 347.

[4] Sigmund Freud, Three Essays on the Theory of Sexuality, trans. Ulrike Kistner (London: Verso, 2016), 71–72.

[5] Ibid., 66, 308; Voline, The Unknown Revolution (Montreal: Black Rose Books, 1975), 136–37.

[6] La Botz, Trotsky in Tijuana, 57, 297.

[7] Irvin Sam Schonfeld and Chu-Hsiang Chang, Occupational Health Psychology: Work, Stress, and Health (New York: Springer, 2017), 9; Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution (Oxford: Oxford University Press, 1989), 50–52; John P. Clark, The Impossible Community: Realizing Communitarian Anarchism. New York: Bloomsbury, 2013), 3.

[8] G. Tyler Miller, Living in the Environment: Principles, Connections, and Solutions, 12th ed. (Belmont, CA: Wadsworth / Thomson Learning, 2002), 345–46.

[9] Ibid., 350.

[10] Schonfeld and Chang, Occupational Health Psychology, 206–7; Jessica Benjamin, The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination (New York: Pantheon, 1988).

[11] La Botz, Trotsky in Tijuana, 20, 289, 311.

[12] Paul Mattick, “Bolshevism and Stalinism,” in Bloodstained: One Hundred Years of Leninist Counterrevolution, eds. Friends of Aron Baron (Chico, CA: AK Press, 2017), 259–72.

[13] Stites, Revolutionary Dreams, 171–72.

[14] Serhii Plokhy, The Gates of Europe: A History of Ukraine (New York: Basic Books, 2015), 310–11.

[15] Christopher Chitty, Sexual Hegemony: Statecraft, Sodomy, and Capital in the Rise of the World System (Durham, NC: Duke University Press, 2020). See the discussion on group marriage in Friedrich Engels’s The Origin of the Family, Private Property, and the State (1884).

[16] Alexandre Skirda, Nestor Makhno: Anarchy’s Cossack (Oakland: AK Press, 2004), 389.

[17] Stites, Revolutionary Dreams, 19.

[18] Mattick, “Bolshevism and Stalinism,” 259–60; Stites, Revolutionary Dreams, 242.

[19] Daniel Taylor, “Chernobyl: an anti-capitalist nuclear horror story,” RedFlag, June, 9, 2019. Available at: https://redflag.org.au/node/6814.

[20] La Botz, Trotsky in Tijuana, 384.

[21] Miller, Living in the Environment, 349.

[22] La Botz, Trotsky in Tijuana, 317.

Video Recordings: “Erich Fromm’s Critical Psychology and Left Strategy Today”

May 13, 2022

Please find below audio-visual recordings of last month’s conference on “Erich Fromm’s Critical Psychology and Left Strategy Today,” which took place on April 30, 2022.

This is the recording of the entire conference, save for the first panel. Please find links to moments in the conference that correspond to specific panels and presentations below:

This was the first panel (“Fromm, Sex, and Gender”), which I moderated.

Psychoanalysis for Collective Liberation

February 2, 2022

First published in the New Politics Winter 2022 issue.

Erich Fromm’s Critical Theory is available from Bloomsbury in paperback and ebook formats

Erich Fromm (1900-1980) was a humanistic psychoanalyst, writer, and activist who was principally influenced by the theories of Karl Marx and Sigmund Freud, though he was critical of both figures. A German-American Jew from an Orthodox, middle-class family, Fromm studied sociology with Alfred Weber (brother of Max), joined the Institute for Social Research—otherwise known as the Frankfurt School—in 1930, and fled Nazi Germany in 1934 for exile in New York. He embarked on his own iconoclastic journey when his erstwhile comrades Max Horkheimer and Theodor W. Adorno expelled him from the Institute in 1939 for questioning Freudian orthodoxy about the libido, or human sexuality. Controversially, in place of Freud’s idea that erotic satisfaction is life’s driving force, Fromm suggested that our goals in existence are in fact relatedness, rootedness, identity, a frame of orientation (or object of devotion), and transcendence (or agency).

While this original thinker is perhaps best known for his book The Art of Loving (1956), in which he develops the idea of authentic and productive bonds of love based on mutual recognition, the editors of and contributors to the new volume, Erich Fromm’s Critical Theory: Hope, Humanism, and the Future,1 underscore the intellectual’s innovative concepts and enduring relevance to a number of key topics. These include humanism, feminism, the social character, conformity, authoritarianism, and anti-fascism, among others. To this point, co-editor Joan Braune aptly points out the glaring absence of psychoanalysis and critical theory in the numerous books published in recent years that attempt to explain resurgent conservative-authoritarian populist and neo-fascist trends (219, 225n13). New studies of fascism by anarchists are not exempt from this trend, with the result that the left overlooks important considerations and strategies for understanding and resisting the far right. In essence, we ignore Fromm at our peril (40).

Prophetic Messianism, the Social Character, and Trumpism

According to Michael Löwy, one of the contributors to the volume, Fromm was a romantic Jewish intellectual and a “religious atheist,” inspired by the “universal utopian perspective” of Jewish messianism (45). On this reading, Fromm was a “religious romantic anti-capitalist—not [a] Marxist—” who interpreted Weber’s sociology in a critical way (48). Likewise, he hailed the Hasidic Judaic tradition as being critical of capitalist modernity. In The Dogma of Christ (1931), Fromm lauds the early Christian community as an anti-bureaucratic, revolutionary “free brotherhood of the poor” that at once opposed Roman imperialism and instituted “love communism” (49). Anticipating his colleagues Horkheimer and Adorno’s argument about history and fascism in Dialectic of Enlightenment (1944/1947), and echoing Karl Kautsky’s own analysis of the foundations of Christianity’s betrayal as starting with the empowerment of the bishops over the prophets and apostles (1908), Fromm traces the integration of Christianity with the state as parallel commentary on the destruction of the Russian Revolution by the Bolshevik Party. In Kautsky’s words, “The organization of a proletarian, rebellious communism thus became the staunchest support of despotism and exploitation, a source of new despotism and new exploitation.” Whereas Löwy suggests that this implicit parallelism communicates Fromm’s disgust with Stalin and sympathy with Trotsky’s analysis in The Revolution Betrayed (1937), it may also convey the psychoanalyst’s convergence with anarchism. Indeed, in 1936, Adorno anxiously complained to Horkheimer about Fromm’s “anarchistic deviations” and “sentimental … blend of social democracy and anarchism,” concluding, “I would urgently advise him to read Lenin” (152). Yet Fromm did read Lenin and considered that the “destruction of Socialism” began with him.2

As a critical social psychologist and public intellectual, Fromm is perhaps best known for his creative, neo-Freudian analyses of political and social authoritarianism. Integrating Marx, Freud, and Weber, Fromm theorized about alienation, neurosis, hierarchy, and sadomasochism. Per Freud, neurotic mood disorders may impart an expression of trauma, unmet needs (“the return of the repressed”), or even a rebellion against dominant norms. Fromm, for his part, concluded that alienation results from one’s embeddedness within defective social relations that build “artificial needs and drives”—namely, the will to power, exploitation, and domination—and so lead to the dehumanization and instrumentalization of self and others. To such understandings, writer Michael Thompson adds that neurotic frustration may signal the breakthrough of critical consciousness over pathological social relations, while communicating the losses and sacrifices we must endure due to the systemic “abuse of the social bond” under the iron cage of capitalism, patriarchy, and the state (27). In contrast, robust bonds promote mutual recognition, community, creativity, knowledge, (self)discovery, and autonomous self-determination.

The contributors to Erich Fromm’s Critical Theory justly emphasize the importance of the humanist’s social-character theory and related insights into the psychosocial aspects of political movements. Social character can be defined as an intermediary between consciousness and the given socio-economic structure: the “most frequent pattern typical in a particular society … and also the dominant characteristic” (194). Generally, social character serves adaptive and stabilizing functions, ensuring the persistence of the “pathology of normalcy” (6). Even so, Fromm identified different types. To name just two: the marketing character, which corresponds to the automaton conformity expected of monopoly capitalism, versus the productive character, which channels adversity into the creation of meaning and love. With Hilde Weiss (1900-1981), a brilliant student of the council-communist Karl Korsch, Fromm designed a study into the social character and political attitudes of German workers toward the end of the Weimar Republic (1929-1931). The findings of this survey, which will be discussed in more detail below, illuminate the great error of Marx’s almost mechanistic faith in the working classes, who are “not reliably socialist or anti-authoritarian” (135). In reality, the Weiss-Fromm study confirmed among many participants simultaneous psychical masochism and the idealization of strong men (144).

Connecting past with present, several of the essayists appearing in this volume seek to apply Fromm’s framework to the project of understanding the growth of extreme right-wing movements. This analysis is most welcome in the wake of the Trump regime and the associated legitimization of neo-fascism. Charles Thorpe views the Trumpist phenomenon as “regressive identification,” to quote the English sociologist Anthony Giddens: The disgraced former president’s foot-soldiers “simply become dependent children again” and so surrender their consciences to the would-be dictator (181). Such a diagnosis is especially apt when considering the attempted coup incited by President Trump on January 6, 2021. In a Frommian sense, reactionary countermovements can be understood, at least in part, as anxious backlashes by those privileged in terms of race, class, gender, and sexuality to rapid, progressive societal changes that might threaten their dominance in the social hierarchy (85-86). Like Reagan and the shareholders in the 1980s, who rebelled against “bureaucracy” and “Communism” by imposing neoliberalism, the authoritarian syndrome of Trumpism represents a false revolt that re-entrenches privilege, irrationalism, and established tendencies toward aggressive self-destruction. Although the right in the United States often relies on community-building and the development of familial, in-group bonds for its propagation, rightist politics both presuppose and reproduce the bourgeois coldness of life in the capitalist, imperialist, and settler-colonial United States (167).

Humanism, Feminism, and Social Character in a Mexican Village

George Lundskow, in his essay on “The Necessity of Prophetic Humanism in Progressive Social Change,” differentiates between “two basic forms” of spiritual life: universalist emancipation and xenophobic idolatry. In Freudian terms, this conflict can be reinterpreted as the struggle between Eros and Thanatos, libido and mortido, or “a faith in life and a faith in death” (55). Lundskow’s universalist perspective is intimately connected with biophilia, or love of life, whether human or nonhuman, and the prophetic-messianic Judaic tradition. Concurring (perhaps controversially) with Fromm that evolution demands that we all have a “frame of orientation and an object of devotion in order to survive,” Lundskow discusses Black Panther Huey P. Newton’s passion for revolutionary suicide—to sacrifice oneself for the people—in place of the reactionary suicide demanded by capitalism and authority (53). Channeling Hermann Cohen’s understanding of messianism as “the dominion of the good on earth,” the writer advocates the construction of a new “revolutionary religion” as a means of transforming the world (68). In like manner, in The Ministry of the Future (2020), the science-fiction novelist Kim Stanley Robinson depicts one of his characters calling for the founding of a new religion to unite humanity and save the planet.3

In her intervention considering the relationship between humanism and feminism, Lynn S. Chancer rightly chastises Fromm for his distance from the feminist movements that surged in the 1960s and 1970s and his related use of sexist language. At the same time, she praises Fromm’s concept of love as mutual recognition, finding it to be a framework that implicitly challenges the gender binary that encodes sadistic male chauvinism on the one hand and masochistic feminine passivity on the other. The struggle against sadomasochistic character orientations and practices—being “mechanisms of escape” that drive wars, exploitation, ecocide, and aggression—would be a process to redirect society toward a more peaceful, egalitarian, and erotic future (197). In such a world, the interrelated “social defense mechanisms” of sadism and masochism would be attenuated, in both the individual and collective, and interdependence would serve as an alternative to the master/slave relationships of past and present (99). Chancer praises Fromm’s concern for “care, loving, sanity, and reason” as implicit critiques of toxic masculinity, sexism, and heterosexism, being systems that “have coercive consequences by limiting people’s gender and sexual freedoms” (101). While she criticizes the psychoanalyst’s gender essentialism and identifies his lack of interest in human sexuality—what fellow contributor David Norman Smith terms a “desexualized psychoanalysis”—as reflecting a “pre-oedipal” orientation that would stress relatedness over the libido, Chancer does not seem to acknowledge the link between Fromm’s own sex-negativity and heterosexist biases (102-05, 131).

In “Sociopsychoanalysis and Radical Humanism,” Neil McLaughlin and Fromm’s own co-author Michael Maccoby note the following paradox: Though he was trained in sociology, Fromm is marginal to the core of this discipline, as to academia as a whole. This is in stark contrast to Pierre Bourdieu, or indeed, Michel Foucault. Dialectically, Fromm’s academic marginality provided him independence of thought but also disregard from the professoriate (109-10). This is sadly the case for his most scholarly late works, such as Social Character in a Mexican Village (1970) and The Anatomy of Human Destructiveness (1973). In contrast, Bourdieu played the academic game and enjoyed considerable rewards and privilege as a sociologist in universities in Paris and Lille. While both figures were radical public intellectuals who engaged in similar projects of socioanalysis, or sociopsychoanalysis, and criticized Western and Stalinist crimes alike—with Bourdieu protesting in his writings against the Algerian War and Fromm publicly opposing the Vietnam and Cold wars—Bourdieu made such arguments from within the academy, while Fromm made them from without. Insightfully, Maccoby and McLaughlin tie Fromm’s “intellectual decline” to his numerous conflicts “with orthodox Marxists, Freudians, neoconservatives, anti-humanist thinkers,” and his former comrades from the Frankfurt School, especially Herbert Marcuse, who resurrected Adorno’s opportunistic line against him in the 1950s (119).

These contributors productively compare Fromm’s social-character theory to Bourdieu’s theory of an internalized, unconscious habitus. This habitus perpetuates class society and the division of labor by mandating obedient participation and social reproduction. Otherwise known as the “cultural unconscious” or “mental habits,” the theory of habitus, for all its usefulness, “downplay[s] an explicit psychoanalytic analysis of emotions which is the core strength of Fromm’s social character theory” (122-23). Plus, in his focus on elites, structures, and symbolic violence, Bourdieu overlooks the self-defeating and self-destructive psychodynamics that often contribute to the reproduction of exploitation and domination. To this point, he was critical of Frantz Fanon’s concept of internalized oppression. However, Bourdieu’s deficit here can perhaps be corrected by Fromm’s social-character theory, particularly as applied in the Mexican village of Chiconcauc, Morelos state. During the 1950s and 1960s, Fromm and his colleagues carried out an empirical research study there into some of the psychological aspects of class stratification among campesinos (peasants) after the Revolution of 1910-1920. Tellingly, the resulting publication, Social Character in a Mexican Village, found that only single-digit percentages of the villagers interviewed had radically democratic character structures.4 The rest were divided among enterprising-sadistic and passive-receptive campesinos, with the divisions correlated to family status before the revolution. Many of those who capitalized on the new opportunities made available by the redistribution of lands had previously been landowners, while those who suffered greater rates of violence and alcoholism were typically descended from peons of the hacienda system imposed by Spanish colonialism (118).

In this sense, Social Character in a Mexican Village provides insight into some of the psychosocial dimensions of class divisions and social hierarchy as a whole. It confirms the Freudian notion that sadomasochism, or authoritarianism, is a psychosocial system with constituent parts that may either accept their socially expected roles or rebel against them—whether productively or destructively. Similar critical studies could be conducted today into gender, class, caste, and ethno-racial inequalities, as well as political differences, throughout the world. Nevertheless, in light of the hostile and supremacist contemporary discourses around the “culture of poverty,” Maccoby and McLaughlin are right that Fromm’s social-character theory risks blaming the victims of given social structures (119-24). This is certainly a quandary that requires more reflection and investigation.

Authority and The Working Class in Weimar Germany

In his inquiry into “Anti-Authoritarian Marxism,” David Norman Smith explains how, in the twilight of the Weimar Republic, Fromm’s cousin Heinz Brandt sought to organize a united front of all anti-fascist forces against the rising Nazi menace. This initiative was promptly crushed by Stalin, in line with the Soviet despot’s disastrous imposition of the doctrine of “social fascism,” which equated the Social Democrats with the Nazis (135-36). Due to such betrayals, Brandt spent a total of 14 years in Nazi and, later, East German prison camps. Intriguingly, Smith traces Fromm’s instinctual revulsion over Stalinist hegemony, and almost unconscious approximation to Trotsky, about whom the psychoanalyst raved: He is “always stimulating, always alive” and “penetrating to the very essence of reality” (138). Such flourishes about the Red Army commander suggest, firstly, that Fromm was ignorant of the fate of the Russian Revolution’s “Third Revolution,” represented by the Kronstadt Commune, the Greens, and the Makhnovist movement: namely, to be crushed by the “People’s Commissar,” Trotsky. Furthermore, despite the analyst’s explicit homophobia, Fromm’s attraction to Trotsky provides evidence of the Freudian theory of universal bisexuality.

Crucially, as well, Smith introduces Hilde Weiss, a Jewish student of industrial sociology, a mass-striker, and an affiliate of the Red Trade Union International (RTUI). Weiss was the primary author of the study on German workers’ attitudes, The Working Class in Weimar Germany, that is more commonly attributed to Fromm himself.5 Using social-character theory, Weiss and Fromm predicted that small minorities of workers would be militantly for (10 percent) or against (15 percent) a Nazi takeover of Germany, while the vast majority (75 percent) would remain passive and essentially indifferent (217). The study also found a significant discrepancy between the 82 percent of respondents who professed fidelity to left parties (the Communists and Social Democrats), and the 15 percent who consistently responded with anti-authoritarian views.6 In a parallel study, Weiss revealed how workers often deified their bosses, in a revealing example of commodity fetishism and sadomasochism, as well as an exhibition of the persistent psychocultural legacy of Prussian militarism and elitism. These self-defeating ideologies were so pervasive as to even permeate Germany’s pyramidally organized left parties—in turn, laying the groundwork for the rise of Hitler.

Although such critique is very apt, it is unclear why someone like Weiss, who lauded Lenin and conformed to Marxist notions of the “dialectical” use of state authority, should be considered a principled anti-authoritarian herself. After all, she joined the RTUI rather than the anarcho-syndicalist International Workers’ Association, co-founded by Emma Goldman, Alexander Berkman, and Rudolf Rocker, among others, in 1922. In this vein, Weiss echoes the confusions of the libertarian-communist Otto Rühle, author of “The Struggle Against Fascism Begins with the Struggle Against Bolshevism” (1939), who cherished his personal friendship with his fellow exile in Mexico, one of the leading Bolsheviks—none other than Trotsky himself (151).

Critique: History, Sexuality, and Internationalism

Whereas Erich Fromm’s Critical Theory is undeniably an important intervention in psychoanalytic, humanist, and radical theory, some caution is needed with an expressly Marxist interpretation of Fromm’s lifework. For example, some contributors express anxiety over the “neo-idealism” of critical approaches based in morality or norms, despite the fact that Fromm himself (like Freud) dedicated much of his life to contemplating the mind, dreams, socialization, and ethics, or the superego (37, 77). Plus, as Maccoby and McLaughlin correctly note, Fromm “rejected the inattention to emotions, morality, and human nature in [the] orthodox version of Marxism” (115). This tension may have to do with an unwillingness on the parts of the editors and contributors to do as Fromm did and criticize Marx himself.

Accordingly, some of the volume’s contributors attempt to defend Marx’s legacy in a way that is at variance with the historical record. For example, Smith claims that “Stalin’s new course—which entailed the violent expropriation of the peasantry, the intensified exploitation of workers, and the eradication of opposition—was a sharp reversal of Marxian doctrine” (132). The distinction made here is questionable, considering how Marx arbitrarily expelled the anarchists Mikhail Bakunin and James Guillaume from the First International in 1872 in order to outmaneuver them, while wrecking the organization, and its cause, in the process.7 Additionally, in Capital, volume 1, Marx welcomes both the expropriation of the peasantry and the regimentation of the industrial workers as historically necessary steps in the “dialectical” struggle for communism.8 For their part, Lenin and Stalin were enthusiasts of Taylorist and Fordist management styles.9

It is true that Fromm’s critical theory elides easy classification as being either primarily Marxist or anarchist. Perhaps, he transcends and sublates both categories. To this point, the Anarchist FAQ Collective identifies the psychoanalyst as a “libertarian Marxis[t] close to anarchism.” Similarly, Roger Foster and Charles Thorpe view Fromm as a socialist interested in “deep democratization rather than a managerial project,” and one who believed in a decentralized, planned economy, as well as humanistic social planning, respectively (90-91, 185). In the end, it was Fromm’s radical iconoclasm, arrived at through reflection and self-discovery, that so disturbed Adorno and doomed the psychoanalyst’s tenure in the Frankfurt School. Then again, it liberated him to follow his own path.

Unfortunately, this volume has little to say about ecological problems such as global over-heating, except in passing, as manifestations of capital’s self-destructive tendencies (75, 184-85, 210). Lundskow curiously equates “raw-food vegan[ism]” with Puritanism, when the Puritans were neither vegetarians nor vegans (59). What is more, in contrast to Puritans, vegans are not necessarily sex-negative. In this vein, we welcome Lundskow’s praise for Huey Newton’s explicit support for the queer community but lament that no one in this volume acknowledges Fromm’s own homonegativity, which is derived from Freud’s paternalistic view that gay people suffer from arrested development (65).10 Rather than be ignored, such limitations must be brought out and criticized.

In terms of international analysis, Langman and Lundskow use a Marcusean term to hail the Arab Spring as an important “great refusal” of domination, but they do not differentiate among the fates of the different uprisings in the Middle East and North Africa (205). Thorpe suggests that the “upsurge of imperialist war in the Middle East has been a major cause of the growth of authoritarianism and nationalism” (177). Presumably, he means war in Iraq, Syria, and/or occupied Palestine, but he does not say. While such a view may partially explain the recent resurgence of the far right in Europe and the United States, it overlooks the specific actors and mechanisms involved in the case of Syria, who are themselves quite authoritarian and nationalist: principally, Bashar al-Assad and Vladimir Putin. These fascists, in their bloody suppression of the Syrian Revolution over the past decade, have killed up to a million people and displaced millions more across international borders. According to Rohini Hensman, committing atrocious war crimes to provoke mass-refugee flows from Syria has been a deliberate strategy on Putin’s part to destabilize the European Union.11 In the struggle to bring Syrian, Russian, U.S., and Israeli war criminals to justice, and to study their examples in the hopes of preventing similar atrocities from recurring, critical Frommian perspectives have much to contribute.

Conclusion

The co-editors and essayists of Erich Fromm’s Critical Theory have performed an important service by re-engaging the public with the history of Fromm’s sociopsychoanalysis, in the hopes that the theorist’s insights be heeded in the cause of humanistic social reconstruction. Both history and the present attest to the strong anti-humanist tendencies professed by many considered to be on the left—from Georges Sorel and Stalin in the past to the GrayZone of today—thus corroborating Maccoby and McLaughlin’s fitting diagnosis of the left as “contradictory, an admixture of tendencies humanist and anti-humanist” (135, emphasis in original). In light of this problem, as well as the realities of global warming and ecocide, persistent political authoritarianism, entrenched sadomasochistic social systems, and disorganized working classes, we see the prospect of new Frommian studies on social character; humanistic, internationalist resistance toward anti-humanist opportunists; and the integration of left psychoanalysis with labor and community organizing as important components in the ongoing struggle for universal emancipation.

Notes

1. Kieran Durkin and Joan Braune, eds., Erich Fromm’s Critical Theory: Hope, Humanism, and the Future (New York: Bloomsbury Academic, 2020).

2. Erich Fromm, The Sane Society (London: Routledge, 1955), 258.

3. Kim Stanley Robinson, The Ministry of the Future (Orbit, 2020), 254-55.

4. Erich Fromm, Social Character in a Mexican Village (New Brunswick, N.J.: Transaction Publishers, 1996).

5. The version published by Harvard University Press in 1984 lists Fromm as the primary author.

6. Lawrence J. Friedman, The Lives of Erich Fromm: Love’s Prophet (Columbia University Press, 2013), 43-44.

7. Robert Graham, We Do Not Fear Anarchy; We Invoke It (Oakland: AK Press, 2015).

8. Karl Marx, Capital, Vol. I: A Critique of Political Economy, trans. Ben Fowkes (London: Penguin Books, 1976), 873-95.

9. Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution (Oxford: Oxford University Press, 1989).

10. Fromm, The Art of Loving, 31.

11. Rohini Hensman, Indefensible: Democracy, Counterrevolution, and the Rhetoric of Anti-Imperialism (Haymarket Books, 2018), 233-38.

“Erich Fromm’s Critical Psychology and Left Strategy Today”: April 30, 2022

December 19, 2021

The world is in turmoil. Although Donald Trump lost the 2020 election, his aggressive spirit lives on. Global leaders meet at the United Nations climate conference in Glasgow, Scotland, to watch the planet burn. The U.S. Congress can’t even pass popular, much-needed socio-economic or environmental reforms. Plus, the COVID-19 pandemic rages unchecked, in no small part due to the everyday capitalist exploitation of workers, not to mention resistance to vaccines and masks, as amplified by conspiracist, right-wing mass-media.

Given these dire circumstances, we believe that the Jewish German-American psychoanalyst Erich Fromm (1900-1980) can equip us with profound insights for the struggle for a more egalitarian society.

Toward this end, we invite you to a one-day online conference on April 30, 2022, dedicated to reflecting on the importance of Erich Fromm’s critical and humanist social psychology for leftist strategy today.

We plan to use Zoom Webinar to cast the conference. Please visit the conference website, consider registering, and stay tuned for more details.

Science Fiction as Protest Art (Part III): On The Shores of Communist H(e)avens

November 21, 2021
The U.S.S. Enterprise in Earth orbit (Star Trek: The Next Generation)

In this concluding part of our analysis of speculative fiction as protest art, we will wrap up the discussion of ‘capitalist hells’ from parts I and II; consider a few cases of art-works combining utopian and dystopian elements, including Elysium, Octavia’s Brood, and Palestine +100; and then pivot to contemplating the ‘communist heavens’ and ‘alternative’ and/or ‘anti-modern utopias’ envisioned by William Morris, Ursula K. Le Guin, Gene Roddenberry, and Kim Stanley Robinson, among others.

First published on The Commoner, 21 November 2021. Feel free to support them via their Patreon here

Correction to part II: Pardot Kynes, from Frank Herbert’s Dune (1965), is an imperial, not Fremen, ecologist; in the novel, he is father to Liet-Kynes, and grand-father to Chani. Liet is played by Max von Sydow in David Lynch’s 1984 film adaptation, Karel Dobry in the 2000 Sci-Fi edition, and Sharon Duncan-Brewster in Denis Villeneuve’s 2021 version.

So far, in this three-part series on visionary fiction, we have considered some of the critical functions that protest art may serve, in terms of the links between the imagination and political resistance. Against the ruling ‘master symbols’ that impart unreason and brutality, ‘countersymbols may arise,’ as reflections of ‘an ideal community of the imagination.'[1] In the anarchist tradition, such counter-symbols include red and black color schemes and flags, the circle A, the idea of ‘One Big Union,’ and songs such as ‘The Internationale, ‘Solidarity Forever,‘ and A Las Barricadas.Anti-authoritarians have also long used photography, poetry, theater, novels, journals, essays, periodicals, comics, zines, and films to convey our hopes for better futures. Indeed, writer Jesse Cohn observes that we anarchists ‘practice culture as a means of mental and moral survival in a world from which [we] are fundamentally alienated.’[2]

In their much-anticipated new study, The Dawn of Everything (2021), the archaeologist David Wengrow and the late anthropologist David Graeber affirm the ethnologist Claude Lévi-Strauss’s idea that ‘mythological thought […] is better conceived as a kind of ‘neolithic science’ inseparable from our humanity, from the very beginning. For this reason, Wengrow and Graeber celebrate the cultural phenomena of carnival and inversion, which feature in speculative fiction and protest art: ‘In carnival, women might rule over men and children [might] be put in charge of government. Servants could demand work from their masters, ancestors could return from the dead, ‘carnival kings’ could be crowned and then dethroned, giant monuments like wicker dragons built and set on fire […].’ They find such festivals significant, because they remind participants and observers alike that ‘other arrangements are feasible,’ compared to what is dominant at any given time.

Even so, while celebrating how artistic counter-symbols sustain the mental and physical possibilities of ‘striv[ing] to realize [anarchist] communit[ies] in actuality’ by ‘evok[ing] a sense of possible worlds worth fighting for,'[3] we must recognize that verbal and visual images critical of capital and authority have been thoroughly commodified in popular media. As voiced by Thomas Wilson Jardine, the concern is that this phenomenon of recuperation will merely function as a safety valve which ultimately ends up serving the end of social control, besides generating investors in the entertainment industry a great deal of profit.

Along these lines, at the end of The Matrix Revolutions (2003), the conclusion to the original cyberpunk trilogy The Matrix (1999-2003), the protagonist Neo responds to his nemesis Smith’s query as to why he persists in his seemingly hopeless struggle by saying, ‘Because I choose to.’ While this is not the same as disclosing that he is driven by some radical duty or cause, Neo’s reply nonetheless echoes the U.S. anarchist poet Hayden Carruth’s observation that:

‘the real revolutionary is the one who can see
all dark ahead and behind, [their] fate
a need without a hope: the will to resist.’ [4]

Be that as it may, the trilogy’s anti-systemic messianism champions the epic hero of Western iconography, emblematically centers masculinity and whiteness, and emphasizes individual over collective action. After all, Trinity and Morpheus are mere supporting characters for Neo in the original films, and it remains to be seen whether the much-anticipated The Matrix Resurrection (2021) will improve on this dynamic. Like Dune, these movies remind us that subversiveness cuts both ways—sometimes, simultaneously—to portend both recuperation into male authority and racial capitalism, as well as the creation of liberatory counter-publics.

With this dynamic in mind, we will defend anti-authoritarian subversiveness and visionary existentialism in this concluding part of our series on speculative fiction as protest art, wherein we consider “capitalist hells,” “communist heavens,” and “alternative” and/or “anti-modern utopias.”

Visionary Fiction, from the Turn of the Twenty-First Century to Present

Still from Deus Ex: Human Revolution (2011)

Deus Ex (1999-2016): Although the various role-playing games in the cyberpunk Deus Ex universe are relatively open-ended, they jointly communicate Kafka-esque, Orwellian, and ‘negative-anarchist’ visions of totally administered worlds.[5] In the original Deus Ex (1999) and in its more recent iterations, Human Revolution (2011) and Mankind Divided (2016), the main characters, who are vaguely queer-coded cyborg super-soldiers, undergo thematic journeys of self-discovery and exile, as they encounter political corruption, inequality, ultra-violence, homelessness, medical abuse, and discrimination as ‘Augs.’ Players begin Deus Ex on the side of the police and the State, but—echoing Blade Runner (1982) and Blade Runner 2049 (2017)these ‘red detective[s]’ slowly realize the folly of power by bearing witness to the conspiratorial brutality of the authorities and the lies of the mass-media. Players end up defecting to anti-systemic resistance movements.[6] (The alternative options, admittedly, are to serve the ‘Illuminati’ [an anti-Semitic trope], or oneself.)

At their best, the augmented playable characters in Deus Ex are ‘Anarchist Action M[e]n’ who recall Alex Murphy at the end of RoboCop (1987), Douglas Quaid in Total Recall (1990), the T-800 from Terminator 2 (1991), and Neo from The Matrix. Furthermore, they are reminiscent of Miguel Cervantes’ classic knight-errant Don Quixote, ‘a figure sincerely beloved by anarchists’ for his idealism and commitment to direct action.[7] Although only in Deus Ex: Invisible War (2003) can gamers choose to play as a female heroine, thus reflecting and perpetuating the toxic masculinity for which the industry is notorious, the Deus Ex series not only creatively satirizes many of the social, political, and economic ills of our time, but also allows players the virtual choice to perpetuate or contest these.

Sid Meier’s Alpha Centauri (1999): This innovative computer strategy game, which builds on the well-known Civilization series, imagines human groups settling on ‘Chiron’ in the Alpha Centauri star system, located 4 light-years from Earth. Having reached Alpha Centauri in the twenty-second century, the interstellar travelers break up into numerous political factions upon planet fall. Gamers can choose to play as the Green ‘Gaia’s Stepdaughters,’ the fundamentalist ‘Lord’s Believers,’ the capitalist ‘Morgan Industries,’ or the despotic-collectivist ‘Human Hive,’ among others. The expansion pack Alien Crossfire (1999) adds the syndicalist ‘Free Drones,’ cyborgs, ‘Data Angels,’ and two indigenous alien factions. With a highly customizable interface that permits mod-ability, includes an expansive technology tree, and integrates astute speculation on the future course of humankind, Alpha Centauri makes for a unique experiment in the digital construction of new societies that goes beyond the typical one-dimensional game. Indeed, as we shall see below, an unacknowledged source for the makers of Alpha Centauri may have been Kim Stanley Robinson’s original Mars (1992-1996) trilogy.

In parallel to the game, back on Earth, anarchists are divided among ourselves, and we confront numerous enemy forces, from the State to capitalists, fascists, and Stalinists. Hopefully, we can unite and find allies to propel global anti-authoritarian and ecological revolution, before world leaders lead humanity to our doom through war, future pandemics, totalitarian takeovers, and/or ecological catastrophe.

Cover image of Elysium

Elysium (2013), Sleep Dealer (2008): Elysium, written and directed by District 9’s director Neil Blomkamp, is a slice of life from the apocalyptic landscape of Los Angeles in 2154, juxtaposed with the orbiting space-station Elysium, which is home to the affluent capitalist overlords of the future. While on Elysium there are many green, open spaces, with mansions adorned by pools and maintained by servant-bots—akin, perhaps, to the humanoid ‘Tesla Bots‘ recently announced by Elon Musk—Earth-dwellers confront veritably infernal conditions. In fact, the “Earth” scenes were filmed in the Bordo Poniente landfill in Mexico City (one of the largest in the world, before its closure), while the Elysium scenes were shot in Vancouver, British Columbia.

The film’s protagonist, Max (played by Matt Damon), is seriously injured by a workplace accident in LA, due to negligence and pressure from his supervisor. With mere days to live, Max tries desperately to find a way aboard the remote and highly fortified space station, where highly advanced therapeutic machines hold out the promise of freeing the body from all ailments and disease. With the help of his mostly Latin@ comrades, Max overwhelms Elysium’s defenses and sacrifices himself to ensure that all Earth residents become Elysian citizens, and so are allowed free, life-saving medical treatment.

In its internationalism, its cosmopolitan focus on migration, and its concern with militarism and labor exploitation, Elysium shares many themes with its fellow dystopian social science-fiction film Sleep Dealer, which envisions Mexican proletarians renting themselves out digitally to work as labor-bots in factories on the other side of the U.S.-Mexico border—which is closed, and patrolled by killer drones—all while remaining in their home country. This is something that U.S. Vice President Kamala Harris has urged. Both films therefore critique borders, inequality, and labor in a manner consistent with anarchist principles, calling to mind the ongoing importance of class struggle, humanism, cross-border organizing, and migrant solidarity.

Cover of Octavia’s Brood

Octavia’s Brood: Science Fiction Stories from Social Justice Movements (2015): This striking volume of visionary fiction, written mostly by people of color, renders homage to Octavia Butler’s profound contributions to the development of anarcha-feminist and anti-racist themes in sci-fi and protest literature. In ‘Revolution Shuffle,’ Bao Phi imagines Asian- and Arab-Americans, ‘Pacific Islanders, Native Americans, Chicanos, and Black people’ thrown into concentration camps by the authorities en masse, as guerrillas look on, contemplating launching a war ‘that might just turn into something like a revolution.'[8] In her contribution, co-editor Walidah Imarisha imagines an itinerant, avenging Black Angel who rescues Palestinians and Mexicans from marauding neo-Nazis and ICE agents, respectively, using overwhelming force. Having been expelled from heaven for questioning God’s complicity with wickedness, A. seeks to be one of the righteous ones ‘who fight against [oppression], who push the forces of destruction back.’[9]

In a similar vein, disability activist Mia Mingus envisions a commune of people with disabilities (‘UnPerfects,’ or ‘U.P.s’) finding solace in autonomous life on a distant planet, far from Earth, where a new wave of annihilatory attacks on ‘U.P.s’ recalls the horrors of Nazi Germany.[10] In an excerpt from Aftermath (1997), LeVar Burton, of Roots and Star Trek: The Next Generation, foresees the Black Dr. Rene Reynolds inventing a ‘Neuro-Enhancer’ that could cure all disease, but then being enslaved by traffickers who target dark-skinned people. Grimly, these slavers turn around and sell the skins of their victims of color to whites for the purposes of grafting, or ‘skin fusion,’ to protect the latter against cancer, in light of the catastrophic depletion of the ozone layer.[11] Notably, as well, Octavia’s Brood includes an excerpt from Terry Bisson’s Fire on the Mountain (1988), an alternate utopian history of the U.S., wherein slaves and abolitionists successfully liberate the South from Confederate rule, leading to the founding of the independent Black socialist State of Nova Africa. Octavia’s Brood therefore represents a timely and intersectional intervention that can animate a politics of resistance and decolonization against white supremacy, fascism, and ableism, in keeping with Black Lives Matter, Antifa, and disability-justice movements.

Palestine + 100 (2019): In this collection of speculative stories about Palestine’s future a century after the Nakba—the ethnic cleansing of up to three-quarters of a million Palestinians, on which Israel was founded in 1948—Palestinian writers defamiliarize and question their everyday lives, which under Occupation amount to ‘a kind of a dystopia,’ according to editor Basma Ghalayini. Contributors Saleem Haddad and Selma Dabbagh report that they found the writing process to have been therapeutic, and unexpectedly liberating. Along these lines, Palestine + 100 has the power to ‘ope[n] up a whole [new] world’ for writers and audiences alike, proclaims Dabbagh. In her review of the volume, Ramona Wadi observes that the volume’s fiction ‘offers an alternative to imagine and communicate these fantastical forays into a not-so distant future, while never forgetting about the historical trauma impacting generations since the Nakba.’ Indeed, in June 2021, following another shooting war between Israel and Hamas that took the lives of at least 248 Palestinians and 12 Israelis, Palestinians attested to the centrality of the radical social imaginary in their ongoing struggle for justice by dreaming online of life as if the Occupation had ended, using the hashtag #TweetLikeItsFree.

Heavenly Communism

Alongside the “capitalist hells” from history and present that pervade sci-fi, visionary fiction also features previews of “communist heavens” at the terrestrial, interplanetary, and galactic levels. Inspired by the Russian Marxist Alexander Bogdanov’s Red Star (1908), a two-volume novel set three hundred years in the future in a ‘Martian-Marxian society’ observing full communism, Russian science-fiction writers from the early Soviet period lyrically explored modernization, ‘the outer reaches of technical innovation,’ and the use of science to dominate nature, while proclaiming ‘the ultimate triumph of the shining pravda [truth] of social justice over the dark krivda [wickedness] of greed and power hunger.’ In this sense, in contrast to the pessimism of the Fabian socialist H. G. Wells, author of The War of the Worlds (1897), Soviet speculative writers marshaled revolutionary ideology and critical sociology to optimistically envision utopian futures—in turn, presumably moving Ursula K. Le Guin, Gene Roddenberry, and Kim Stanley Robinson to do much the same, as we shall see.[12]

Along these lines, in April and May 2021, artists from the Middle East and North Africa (MENA) region publicly mused about the future through the prism of sci-fi. For this series, the Egyptian novelist Ahmad El Fakharany exclaims that ‘Heaven is the world’s motor, the mirage it needs. We will never lose its effects. We will never stop pursuing it.’ Likewise, the Egyptian poet Khadija Al-Saadi identifies fiction as a ‘certain reality that contributes to change and transformation—what I think about, I work on. Ideas are free and roam different worlds.’ She adds that ‘[s]cience fiction is accessible to anyone who thinks about it in depth, calmly and methodically. After thinking, the images come, and then answers.’

William Morris & Co., ‘The Orchard’ (1890; courtesy Albert and Victoria Museum, 2021-2026)

To this point, the British eco-socialist poet and designer William Morris (1834-1896) wrote News From Nowhere (1891) as an ‘Epoch of Rest’ and a ‘Utopian Romance.’ Although this novella depicts communist h(e)avens, it may more accurately be classified as an anti-modern utopia integrating Romantic, pastoral, and even proto-solarpunk themes.[13] Recalling Tao Qian’s ‘Peach Blossom Spring‘ (421 C.E.), Morris’ alter ego, William Guest, awakens the morning after a discussion at the Socialist League about the ‘Morrow of the Revolution,’ only to find himself in a paradoxically future-medieval London, set in 2102, from which the factories and associated pollution have disappeared. Remarkably, he discovers that poverty and class have been eliminated, that workers are healthy in body and mind, and that the people’s social character is warm, joyous, and humanistic, such that they resemble a ‘bed of tulips in the sun.’ In place of a ‘country of huge and foul workshops,’ railways, and robber barons, England and its fields have become ‘a garden, where nothing is wasted and nothing is spoilt,’ and ‘made for the pleasure as well as the livelihood of all.’ In this liberated world, capitalism, industrialism, and Puritanism have been overthrown, and ‘mastery has changed into fellowship.'[14]

During a boat ride down the Thames River, Guest and his fellow dreamer Ellen encounter ‘a mill […] as beautiful in its way as a Gothic cathedral,’ and amidst the sounds of blackbirds, doves, rooks, and swifts, they visit an old house built by peasants from Guest’s timeline, and there jointly contemplate what the psychoanalyst Nancy Chodorow might term the ‘living’ or ‘unconscious past.'[15] Ellen presents socialist-feminist reflections on how she would have been ‘wrecked and wasted […] either by penury or by luxury,’ had she had the misfortune of being born in the nineteenth rather than twenty-second century.[16] Yet, soon after joining his friends for a communal feast at a medieval church, Guest awakens, hoping passionately that his reveries could become a political vision for the future.

The importance of Morris’ Romantic-revolutionary outlook should not be underestimated. All of it remains relevant today. In Cohn’s words, the message of News from Nowhere speaks to a ‘key component of anarchist dreaming’: that is, ‘the process of reconciliation and reintegration that would constitute a society of equals without producing another Terror.'[17] In Spaces of Hope (2000), David Harvey employs the motif of falling asleep amidst a bout of political despair to envision a radically different, non-repressive future society. The film Total Recall (1990)—starring Arnold Schwarzenegger as a disaffected worker who either goes to Mars to lead a successful planetary insurrection against the capitalist overlords, or merely fantasizes about doing so—relies on a very similar premise. Riffing off Morris’ communalist anti-industrialism, Paul Glover’s eco-utopian Los Angeles: A History of the Future (1984) envisions the peoples of Santa Monica and Boyle Heights reaching self-sufficiency and replacing car-centric urban planning designs with orchards that are communicated by bikeways and solar-powered rail.[18]

Hopefully, with greater movement toward unionization of the U.S. working class during the COVID-19 pandemic, as well as the ‘Great Resignation‘ of laborers quitting ‘bullshit jobsen masse, the power of State and capital can be further destabilized, so that workers and communities come to replace the State and capital as decision-makers in the future. Green and community syndicalism hold more promise for reaching a sustainable, egalitarian future, when compared to the gross negligence that has been exhibited by world leaders for decades, in the face of the collective death sentence posed by global warming.

In a similar vein to News from Nowhere, Alexander V. Chayanov’s 1920 fictional work, My Brother Alexei’s Journey into the Land of Peasant Utopia, begins with a proletarian leaving his job one night in 1921, ‘disgusted at the mechanical extremism of the socialist regime in which he lives.’ He falls asleep, awakening over sixty years later in a future Russia wherein the Bolsheviks have been overthrown by the Socialist Revolutionaries, and large cities and the centralized State destroyed. Self-evidently, such a vision deviates radically from Marxist prescriptions for the future. That having been said, for envisioning an agrarian society that would be self-governed by cooperatives, but not necessarily opposed to private ownership or traditional peasant culture, Chayanov perished in Stalin’s GULAG in the early 1930’s.[19]

Le Guin’s Ambiguously Utopian Futures

Cover of Ursula K. Le Guin’s The Dispossessed

The visionary anarcha-feminist Ursula K. Le Guin’s award-winning novels The Dispossessed (1974) and Always Coming Home (1985) combine elements of heavenly communism with anti-modern and alternative utopianism to contemplate possible anti-authoritarian futures for humanity. Following in the steps of her parents, the ethnologists A. L. and Theodora Kroeber, Le Guin (1929-2018) uses anthropological approaches to narrate these “ambiguous utopias.”

The Dispossessed describes a future anarcho-communist society in the Tau Ceti solar system being constructed on the desolate moon Anarres, whose courageous inhabitants have broken away from the bourgeois-patriarchal society based on the more ecologically bountiful home planet of Urras. Led by the prophetess Odo, the Anarresti resist socio-political authoritarianism by engaging in cooperation, encouraging free love and sexuality (including LGBTQ dimensions), and creating a new language that lacks possessives, thus consciously building what Le Guin terms ‘the most idealistic, and […] the most interesting, of all political theories.’ The Anarresti physicist Shevek, the work’s protagonist, visits Urras, only to encounter class divisions, sexual repression, and militaristic State violence. By contrast, Shevek’s experience in the capitalist hell of Urras does not mean that life on Anarres is perfect, for Le Guin warns of the risks of group conformity and stagnation, even among mindful anti-authoritarians who have consciously overcome many of the problems faced by the Urrasti.

The novel’s title is likely a play on Fëdor Dostoevsky’s The Possessed (1871-1872),[20] and its plot presents a critique of the opportunistic and deranged social character which Dostoevsky imputes to anarchists in his reactionary satire. In this sense, when the Marxist literary commentator Fredric Jameson criticizes the links Le Guin traces among ‘institutionalized warfare, centralization and psychic aggression’ as ‘preoccupations of a characteristically liberal type,’ he merely tells on himself, while echoing Dostoevsky and Marx’s authoritarian caricatures of anarchism—not to mention those propagated by neo-Stalinists in the twenty-first century.[21]

Beyond the political novel of The Dispossessed, Always Coming Home synthesizes speculative ethnology with poetry, parables, music, spiritual journeys, and emblematic memoirs to construct the world of the so-called Kesh, an egalitarian people who institute a society based on anarcha-feminism, free love, communal horticulture, and the gift economy in ‘the Valley’ of California in the deep future. In ecological terms, this future-world is marked by capital’s infernal devastation of the global climate. Implicitly speaking to the threat of sea-level rise posed by the melting of the world’s glaciers and poles, a certain Grey Bull recalls a journey by boat to what must previously have been the San Francisco Bay Area, whose houses, buildings, streets, and roads now lie at ‘the bottom of the sea.'[22]

‘Under the mud in the dark of the sea there
books are, bones are […].
There are too many souls there.'[23]

Speculatively, there may be a connection between this estranging journey into the effects of global warming, and the premise of Kim Stanley Robinson’s New York 2140 (2017), which is set in a future wherein the polar ice caps have melted, and New York—like other low-lying cities—has been irreversibly inundated. In spite of the ecological constraints imposed not only by climate catastrophe, but also by past chemical pollution of the environment, Le Guin’s sympathetic portrayal of Kesh society in Always Coming Home arguably constitutes an (an)archaeology of the future: a vision, in other words, of ‘what [we] can become.'[24] The Kesh and their mysteriously advanced allies, ‘the Exchange,’ use soft technologies, including cybernetics and solar energy, to decentralize industry and society—thus integrating the past visions of Peter Kropotkin, Marshall Sahlins, Morris, and Lev Tolstoy.[25] The climate is fortunately stable enough to support horticulture. Through the practice of ‘heyiya,’ or the recognition of the links between the sacredness and interconnection of life, they institute Hermann Cohen’s vision of a ‘religion of reason.’

As a foil to the Kesh, Le Guin introduces the Condor People, a nomadic group of marauding male-supremacists and propertarians, who practice militarism, ultra-misogyny, and cruelty toward animals. Accordingly, in this work, ‘[t]he patriarchal […] is identified with the imperialistic.'[26] Through their casteism, sexism, and ultra-violence, the Condor soldiers recall the Vikings, the Mongol empire, conquistadores, and Euro-American slaveowners of yore, as well as the Hindutva, Taliban, and Christian fundamentalists of today.

In sum, according to John P. Clark, Le Guin condemns ‘the manipulative world of domination we actually find ourselves in,’ while affirming ‘the cooperative world of freedom we are capable of creating.'[27]

Star Trek: Communism in Space

The U.S.S. Enterprise confronts a Borg cube (Star Trek: The Next Generation)

The various Star Trek series (1966-present), the brainchild of Gene Roddenberry (1921-1991), closely follow Morris and Le Guin, in that they mix visions of communist h(e)avens with high-tech utopianism to consider a ‘good future’ for humanity. This arrives through the United Federation of Planets, which is co-founded among Earth and the planets Vulcan, Andor, and Tellar in the year 2161, after victory against the Romulan Star Empire, which had launched a nuclear war on Earth six years prior. The Earth-Romulan war, in turn, comes a century after World War III, which similarly involved the use of atomic weapons.

In this sense, the backstory of Star Trek pays tribute to the Russian engineer V. D. Nikolsky’s epic In A Thousand Years (1927), which involves a journey via ‘chronomobile’ into the future that anticipates the victory of socialism and humanism over capitalist imperialism, following a desperate period of nuclear war and bourgeois dictatorship.[28] In turn, Roddenberry renders homage to the Argentine Trotskyist Juan Posadas, who adopted Michel Pablo’s concept of nuclear catastrophism, whereby the workers of the world would survive the ‘destruction of all bourgeois and bureaucratic institutions in nuclear war’ to rebuild the world as socialist. Such an optimistic, catastrophic spirit might be germane to our own time, beset as we are by COVID-19 and unchecked global heating.

Broadly speaking, Star Trek can be viewed as a rationalist Enlightenment narrative about humanity’s self-overcoming of infancy, mastery, and brutality. For instance, in ‘Past Tense,’ from Star Trek: Deep Space Nine (1995), we learn that the ‘Bell Riots‘ of San Francisco (2024) paved the way for the coming of the Federation, and Star Trek: The Next Generation (TNG, 1987) opens in the twenty-fourth century with the supernatural entity Q putting humanity on trial for the ‘multiple and grievous savageries of the species.’ Proving Q wrong, the crew of the U.S.S. Enterprise liberates an alien lifeform that had been imprisoned and exploited by the humanoid Bandi species at the Farpoint station. Such utopian visual images arguably connect to today’s Black Lives Matter, #MeToo, trade-unionist, climate-justice, and Total Liberation movements, not to mention the Syrian or Rojava Revolutions.

In The Original Series (TOS, 1966-1969) and TNG, the Federation and its military-exploratory wing, Starfleet, are shown as constantly at odds with the Romulans—who follow the classical despotism of the Romans, instituting an authoritarian State, reified law, and private property[29]—and the Klingons, who are reminiscent of the Mongol, Qin(g), and Japanese Empires. Klingon ‘Birds of Prey‘ could be likened to Bashar al-Assad, Vladimir Putin, and Recep Tayyip Erdoğan’s war planes, due to the cruel purposes they commonly serve, while the Romulans hold a mirror up to the sordid history of Western ‘civilization.’ For their part, the menacing, authoritarian-collectivist Borg may be meant to satirize Stalinist or Maoist state-capitalism, corporate capitalism, and/or the dangers of technology. In this sense, Roddenberry affirms Enlightenment and socialist humanism through the idea of the Federation struggling against the fascistic Borg, while conveying a future vision of the Third-Campist motto—devised by U.S. Trotskyists amidst the depths of the Cold War, and likely adapted from Shakespeare—of ‘A plague on both their houses’: namely, the U.S. and the U.S.S.R., or the Romulans and Klingons. In this vein, a similar critical analysis of present-day rivalries between the U.S.A. and the People’s Republic of China would be in order.

Whereas the Star Trek universe presents a cooperative, inter-species, post-capitalist future, wherein the peoples of Earth have abolished poverty, scarcity, and profit, it also resembles Le Guin’s ‘ambiguous utopias,’ as hierarchies of gender and race arguably persist in the Federation. The franchise’s representation of Klingons as invariably Asian and/or Black also reproduces white supremacy—especially, as in TOS, when these Klingons are played by Euro-American actors. At the same time, Black, Asian, and/or female characters and actors play productive roles in several Star Trek series, and so contest racism and sexism, in an implicit nod to the Civil Rights Movement (contemporary to TOS). Nonetheless, due to the machinations of producer Rick Berman, LGBTQ representation and feminist themes were hampered for decades over multiple series.

At its best, Star Trek helps defamiliarize and question mainstream politics. The TNG episode ‘Force of Nature’ (1993) foresees the Federation Science Council imposing fleetwide limitations on warp speeds, due to concern that further high-warp emissions would prove destructive to the fabric of space. In contrast, in our world, ‘the systems that were meant to validate and respond to’ the initial alert about COVID-19 ‘were too slow,’ and much the same could be said about the official response to the climate crisis, which threatens our future radically. To this point, although the third season of Star Trek: Discovery (2020) is set in an alternate future in the early fourth millennium, wherein the Federation has collapsed following a mysterious ‘Burn,’ anti-authoritarians and rebels committed to Starfleet principles still find each other and engage in high-tech communist insurrections. Likewise, the trailer for season 2 of Picard (2022) suggests that the crew of La Sirena goes back in time to our day to prevent a fascist takeover in an alternate future, without the Federation. Accordingly, the Star Trek franchise both encourages and profits from horizontalist politics and internationalist struggles.

The Mars Trilogy and Red Moon

‘[D]o the best you can! Help all good causes!'[30]

The progressive visionary Kim Stanley Robinson’s Mars trilogy—Red Mars (1993), Green Mars (1994), and Blue Mars (1996)renders homage to Bogdanov’s Red Star in its portrayal of the near-future colonization of the red planet, and its subsequent terraforming into a green and then blue planet, laden with oceans. Robinson, or KSR, integrates a utopian blending of red and green figurative imagery and eco-political thought to envision a Martian cultural and political revolution against the capitalist despotism based on Earth.[30] Many of the place-names he invents for the red planet pay tribute to the German critical theorist Ernst Bloch’s Principle of Hope (1954-1959). In his own words, KSR was forever ‘changed’ by reading Le Guin, whom he described upon her passing in 2018 as ‘a complete person of letters and an important public intellectual.’

Among the scientists who settle Mars in 2026 in KSR’s imagination, certain characters stand for different socio-ecological alternatives. For example, the prophetess Hiroko Ai, a leader of the ‘Green’ movement, which seeks to terraform Mars, stands for ‘viriditas’ and life, while her foil, the geologist Ann Clayborne, initially avows a ‘Red’ position of ‘Mars First!’, which is radically opposing to any form of geoengineering. In contrast, Ann’s erstwhile colleague Phyllis Boyle stands for capitalist modernization and the death drive, whereas Arkady Bogdanov, whom she assassinates, symbolizes anarcho-syndicalism. The engineer Nadia Cherneshevsky, his partner—whose last name alludes to the Russian revolutionary Nikolai Chernyshevsky, author of the social utopia What Is To Be Done? (1863)—emphasizes the critique of violence and social reconstruction following Terran retaliation against the First Martian Revolution, which takes place at the end of Red Mars. Furthermore, the Trinidadian anarchist stowaway known as ‘Coyote’ plays a crucial role in propagating ‘eco-economics,’ utopian socialism, and the gift economy in Green Mars. Ultimately, the Martian colonists succeed in transforming the planet into a ‘second Earth’ which has abolished private property, patriarchy, and social violence. As Blue Mars closes, on the newfound beaches of the fourth planet from the sun, the transformed elder Ann Clayborne reflects proudly:

‘Beat on, heart. And why not admit it. Nowhere on this world were people killing each other, nowhere were they desperate for shelter or food, nowhere were they scared for their kids. There was that to be said.'[32]

Cover of Kim Stanley Robinson’s Red Moon

In Red Moon (2018), KSR contemplates similar themes in a compelling visionary thriller that features inter-imperialist rivalry between the U.S. and China, as well as resistance movements in both countries that contest capitalist authoritarianism for the sake of a better future. The year is 2047, and the Chinese Communist Party (CCP) has colonized much of the moon, integrating it into the State as a ‘Special Administrative Region’—akin to the internal colonies of Tibet, Xinjiang, Macau, or Hong Kong, among others (not to mention much-coveted Taiwan). Although nationalism explains much of the impetus for China’s lunar presence, KSR describes how the moon also serves as a site to which the most polluting industries could be transferred, as well as an untapped source of mineral extraction, and a launchpad to the rest of space. Through estrangement, KSR presents a dual critique of the ‘G2’ of China and the U.S. as mirror-image ‘[p]artners in crime,’ while he metaphorically ponders ‘what it will take to achieve escape velocity […] and fly off into a new space.'[33]

Red Moon ‘s main character is the revolutionary Chinese leader Chan Qi, a so-called ‘Party princess’ and daughter of the CCP’s finance minister, who is sympathetic to the New Left and a critic of Confucian sexism—but not a Party member. With the help of the U.S. quantum mechanic Fred Fredericks, Qi evades the nefarious bureaucratic forces that would capture or kill her, whether on Earth or the moon, to change the lunar-planetary system, by means of an inside-outside strategy. From her lunar hideout, Qi calls for an uprising in China, resulting in the popular occupation of Beijing. This mobilization for the ‘China Dream’ of a ‘just world’ in turn inspires a similar movement in Washington, D.C., galvanizing ‘a global people’s revolt,’ starting with a ‘G2 people’s revolt,’ that has ‘no leader.’ As in The Ministry for the Future (2020), such popular uprisings lead to significant governmental reforms, but also to the recovery and rehabilitation of State power. This paradox is reflected in the Daoist poet Ta Shu’s declaration—likely echoing KSR’s own contemporary views—that ‘[u]ltimately you need both’ pressure from below and top-down reforms to resist capitalism and combat global warming.[34]

While a grassroots strategy based in green and community syndicalism, feminism, and intersectionality may theoretically provide the best chance for radically mitigating climate destruction, overthrowing class society, emancipating humanity, and saving millions of other terrestrial and marine species from extinction, the ‘receiving sets‘ for such revolutionary transformation are arguably missing at present. Moreover, as critical theorists and psychoanalysts emphasize, capitalism and hierarchy tend to reproduce themselves both in mind and reality through children’s socialization and education, proletarians’ working lives, and the imperatives of the culture industry. Along these lines, COP26 has shown the world yet again that the only measures which can be contemplated by capital and the State on the most fundamental questions about climate catastrophe fall radically short of the basic demand—presumably shared by everyone—for a livable planet.

Conclusions

In this series on speculative fiction, we have seen numerous examples of the intimate connections binding radical artists, the social imaginary, visionary art, and revolutionary struggle across time and space. Utopian science fiction flourished in early Soviet Russia until Stalin banned it, according to his goal of figuratively performing a ‘fantasectomy’ of the revolutionary imagination, thus facilitating social control and the counter-revolutionary cause. As the German anarcho-syndicalist Rudolf Rocker argued, Stalinism and Fascism were ‘part of a transnational process reinforcing hierarchies in which the worker was inevitably reduced to an anonymous piece of machinery in mass society.'[35] As such, these totalitarian regimes had more in common with Fordist capitalism than not. It is not for nothing that Henry Ford and Hitler mutually admired each other, or that Ford and Stalin made a deal in 1929.

As opposed to the dystopias of capitalist and Communist hells alike, the competing emancipatory vision of exile, equality, and autonomy is conveyed by the Daoist dream of a ‘Peach Blossom Spring,’ Raúl Cruz’s imaginary Mayan steampunk creatures, and the egalitarian ‘new history of humanity‘ uncovered by David Graeber and David Wengrow. The cause of collective liberation resonates in several of the art-works we have examined in these three articles: for example, We, The Great Dictator, The Left Hand of Darkness, The Word for World is Forest, THX 1138, Star Wars, Terminator, The Parable of the Sower, Elysium, Octavia’s Brood, Palestine + 100, ‘Imagining the Future in the Middle East and North Africa,’ News from Nowhere, The Dispossessed, Always Coming Home, Star Trek, the Mars trilogy, and Red Moon.

Like Octavia Butler, who believed the ‘highest imperative’ to be ‘action to create change,’ Walidah Imarisha rightly declares that ‘[a]ll organizing is science fiction.'[36] For this reason, while Jardine is right to warn us to be wary of media corporations trying to sell us anti-authoritarianism and anti-capitalism and lull us into interpassivity, perhaps more importantly, we should be mindful of the immense power our imaginations have to break capital’s infernal grip—not only over the mind, but also over reality, from which it is inseparable. In this series, we have seen how visionary protest art permits explorations of social problems and creative solutions to the same in past, present, and future.[37] In this sense, we would do well to heed Pranav Jeevan P’s invitation for us to ‘revisit and re-imagine these visions, understand and imbibe the ideas behind them and work towards creating our [own] Begumpura,’ our Peach Blossom Spring, our global Federation.


[1]Hans Gerth and C. Wright Mills, Character and Social Structure: The Psychology of Social Institutions (Routledge: London, 1954), 288.

[2]Jesse Cohn, Underground Passages: Anarchist Resistance Culture, 1848-2011 (Oakland: AK Press, 2014), 15 (emphasis in original). Some examples of anarchist protest art might include Колокол (‘The Bell,’ 1857-1867), War and Peace (1869), L’Homme et la Terre (‘Humanity and the Earth,’ 1905-1908), Regeneración (‘Regeneration,’ 1900-1918), ‘Written in Red’ (1911), Living My Life (1931-1934), Animal Farm (1945), The Rebel (1951), Viva Zapata! (1952), Salt of the Earth (1954), Can Dialectics Break Bricks? (1973), Libertarias (1996), La Commune (2000), Maggots and Men (2009), World War III Illustrated (1979-2014), and Processed World (1981-2005).

[3]Gerth and Mills 288; Cohn 269.

[4]Hayden Carruth, Brothers: I Loved You All: Poems, 1969-1977 (New York: Sheep Meadow Press, 1978), 93-4 (emphasis in original).

[5]Michael Löwy, Redemption and Utopia: Jewish Libertarian Thought in Central Europe (Stanford: Stanford University Press, 1988), 71-94.

[6]Richard Stites, Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution (Oxford: Oxford University Press, 1989), 172-3.

[7]Cohn 63, 287.

[8]Bao Phi, ‘Revolution Shuffle,’ in Octavia’s Brood, eds. Adrienne Marie Brown and Walidah Imarisha (AK Press/Institute for Anarchist Studies, 2015), 11, 14.

[9]Walidah Imarisha, ‘Black Angel,’ in Octavia’s Brood, 50 (emphasis in original).

[10]Mia Mingus, ‘Hollow,’ in Octavia’s Brood, 109-21.

[11]LeVar Burton, ‘Aftermath,’ in Octavia’s Brood, 215-23.

[12]Stites 32-3, 172.

[13]Stites 174.

[14]William Morris, News from Nowhere and Other Writings (London: Penguin, 2004), 43-8, 105, 211-6, 226, 228.

[15]Nancy Chodorow, The Power of Feelings (New Haven, CT: Yale University Press, 1999).

[16]Morris 215, 223.

[17]Cohn 209.

[18]Ibid, 322-4.

[19]Stites 185-6.

[20]Cohn 228.

[21]Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (Verso: London, 2005), 276; Rohini Hensman, Indefensible: Democracy, Counterrevolution, and the Rhetoric of Anti-Imperialism (Chicago: Haymarket Books, 2018).

[22]Ursula K. Le Guin, Always Coming Home (Berkeley: University of California Press, 1985), 138.

[23]Ibid, 390.

[24]Riane Eisler, The Chalice and the Blade: Our History, Our Future (New York: HarperCollins, 1987), 5.

[25]Le Guin 379-80.

[26]Jameson 67.

[27] John P. Clark. ‘On Living in the World: Always Coming Home Revisited.’ Fifth Estate, forthcoming.

[28]Stites 176-7.

[29]Martin Malia, Alexander Herzen and the Birth of Russian Socialism (New York: Universal Library, 1961), 301-9.

[30]Kim Stanley Robinson, Red Moon (New York: Orbit, 2018), 288.

[31]Jameson 409-16.

[32]Kim Stanley Robinson, Blue Mars (New York: Del Rey, 2017), 761.

[33]Robinson, Red Moon, 148, 181, 227, 232, 234-42.

[34]Ibid, 142, 157-9, 209, 231, 267 (emphasis in original), 268-9, 276-7, 327, 363-73, 410

[35]David Bernardini, ‘A different antifascism. An analysis of the Rise of Nazism as seen by anarchists during the Weimar period.History of European Ideas (2021), 6.

[36]Tananarive Due, ‘The Only Lasting Truth,’ in Octavia’s Brood, eds. Adrienne Marie Brown and Walidah Imarisha (AK Press/Institute for Anarchist Studies, 2015), 270; Imarisha 3.

[37]Stites 189, 226.

Video Recording: “Ecology and Revolution”

November 18, 2021

This is the recording of a panel on “Ecology and Revolution,” which took place at the Ninth Biennial International Herbert Marcuse Society Conference, on October 9, 2021.

Speakers in order of appearance:

– Thais Gobo, “Authentic Ecology and Liberation: The Refusal of the Domination of Nature Against the Apparatus”
– Sergio Bedoya Cortés, “Ecological crisis, Capitalism and Critique”
– Dan Fischer, “Let Nature Play: Total Liberation from Compulsory Work”
– Myself, “Critical Theory in Ursula Le Guin’s Always Coming Home”

A Critical Theory of Authority

October 11, 2021

These are my comments, presented on October 9, 2021, at the Ninth Biennial International Herbert Marcuse conference, on the panel “Marcusean Politics Today.” My co-panelists were Shon Meckfessel and Rocío Lopez.

In Character and Social Structure: The Psychology of Social Institutions (1954), the sociologists Hans Gerth and C. Wright Mills observe that, “from a psychological point of view, the crux of the problem of power rests in understanding the origin, constitution, and maintenance of voluntary obedience.” They add that “Authority, or legitimated power, involves voluntary obedience based on some idea which the obedient holds of the powerful or of his position” (Gerth and Mills 194-5). Indeed, in his Discourse on Voluntary Servitude (1577), Étienne de la Boetie came to much the same conclusion: namely, that authority persists because we allow it to. Although the reproduction of hierarchy under capitalism is not so simple as that, considering the threats of unemployment, imprisonment, starvation, and assassination for those who rebel, there is something to Jean-Paul Sartre’s comment about a kind of “complicity between the oppressor and the oppressed” (Sartre 338).

In turn, the models of sexual sadomasochism and socio-political authoritarianism developed in the twentieth and twenty-first centuries by Sigmund Freud, Erich Fromm, Herbert Marcuse, Jessica Benjamin, and Lynn Chancer highlight the psychodynamic dimensions of erotic frustration and gender and class oppression. In other words, under generalized relations of dependence on capital and male authority, the power of the boss, man, sadist, and/or ‘top’ is ultimately derived from the psychological self-subordination of the worker, woman, masochist, and/or ‘bottom.’ In this sense, the specter of revolt can function as a destituent power that reverberates throughout society, as we have seen on many occasions in history, up to and including the present.

At the same time, not all revolt is emancipatory, and “there is no theory of subversion that cannot also serve the cause of oppression” (Rancière xvii). In Reason and Revolution (1941), Marcuse controversially defends G. W. F. Hegel’s criticism of the “pseudo-democratic” opponents of the post-Napoleonic Restoration régime, likening them—in their xenophobia, anti-Semitism, and German nationalism—to precursors of the Nazis (Marcuse 1999: 179-81).1 Along similar lines, Ze’ev Sternhell sees the fascist cultural and political revolt against Enlightenment values like humanism and rationalism not as anomalous to European history, but rather, as integral to it (Sternhell 3, 250-1). The anarcho-syndicalist Rudolf Rocker likewise saw in fascism a “reaction to progress […] rooted in German history but concerning the whole of Europe” (Bernardini 9). Unfortunately, as was confirmed not only by the descent of the Russian Revolution into a Stalinist nightmare, but also by the collaboration of revolutionary syndicalists in the birth of national socialism, the phenomenon of the “leftist right,” or what Jürgen Habermas termed a “left fascism,” certainly exists (Rancière 72; Gandesha). Both in the past, as in the present, we see “discourse[s] of order composed in the vocabulary of subversion” (Rancière 116). In this sense, the Russian Marxist Georgii Plekhanov was right to accuse Pierre-Joseph Proudhon, the “Father of Anarchy,” of having combined “extreme Radicalism of mind with extreme Conservatism of mind” (Plechanoff 57, 63). Along similar lines, the neo-Stalinism of the GrayZone bloggers and the Trumpists’ coup attempt at the Capitol in January 2021 are arguably just two sides of the same coin.

Thus, in this presentation, I will analyze the ‘reactionary rebellion’ of the revolutionary French syndicalist Georges Sorel (1847-1922), follower of Proudhon and mentor to Benito Mussolini, the first Fascist leader, whose 1922 March on Rome animated Adolf Hitler’s failed “beer hall putsch” (1923). I will also explore the bureaucratic anti-humanism of Louis Althusser (1918-1990), who sided with his Party (the French Communist, or PCF) in rejecting the May 1968 uprising. I will then conclude with an analysis of national-socialist currents among ‘anti-imperialists’ today, and offer some reconstructive, anti-authoritarian ideas for anarcho-syndicalists and critical theorists going forward.

Georges Sorel’s National Revolution

Perhaps ironically, George Sorel—who infamously synthesized revolutionary syndicalism with ultra-nationalism to inspire Fascism—shared some concerns with the anti-fascist Marxists of the Institute for Social Research, otherwise known as the Frankfurt School theorists. They commonly focused on symbols, emotions, and socio-political psychology in their respective intellectual projects, although admittedly, for vastly different reasons: Sorel sought to “mobilize the masses and to change the world” by annihilating bourgeois society while upholding the authority principle and the place of “revolutionary ‘élites,’” whereas the critical theorists aimed at a non-repressive, anti-authoritarian transformation of global society (Marcuse 2008: 105; Sternhell 59). Across different generations, both the Frankfurters and the Sorelians worried that the working classes of advanced-industrial societies had been integrated into capitalism. Sorel despaired that the French Confédération Générale du Travail (CGT) was more interested in reform than revolution, and Marcuse wrote One-Dimensional Man (1964) under the impression that workers in the U.S. would not rise up against capitalism (Sternhell 96). In the prologue to Negative Dialectics (1970), Theodor W. Adorno laments that “Philosophy […] remains alive, because the moment of its realization was missed,” given that “the transformation of the world failed.” Along similar lines, Sorel and Walter Benjamin shared a belief in the heroic potential of pessimism.

Of course, neither Adorno nor Marcuse (much less Benjamin) turned, as Sorel and Martin Heidegger did, to national socialism as a “new revolutionary path” (Sternhell 25, 123). Rather, as German-Jewish Marxists, they were forced to flee Nazi Germany and relocate to New York as refugees. After scaling the Pyrenees Mountains in late September 1940, Benjamin poignantly lost his life in the Spanish border town of Portbou, where he overdosed on morphine rather than be deported by Franco’s guards to the Nazi-collaborating Vichy régime. In the U.S., their newfound home, the surviving Frankfurt School theorists continued their principled anti-authoritarian analysis of society, rather than betray the cause, as Sorel so egregiously did.

According to Sternhell’s account in The Birth of Fascist Ideology (1989), fascism can be interpreted as a revolt against the principles of the Enlightenment (3). Certainly, this thesis can explain Heidegger’s own attraction to, and promotion of, Nazism. Like his intellectual mentor Friedrich Nietzsche, Heidegger sought to demolish the “post-1789 moral-political dispensation [and] replace it with a new radically illiberal and anti-egalitarian dispensation” (Beiner). In Reason and Revolution, Marcuse analyzes the Counter-Enlightenment philosophers who rejected German Idealism and inspired Nazism. In this sense, he highlights F. J. Stahl (1802-1861), who affirmed anti-rationalism, repudiated natural law, and sought to replace the category of reason with obedience (Marcuse 1999: 360-74). Likewise Sorel: “a horror of the Enlightenment [was] basic to his thinking” (Sternhell 69). Indeed, this devout Catholic had no truck with the anti-clerical cause. As a white supremacist, Sorel condemned what he saw as the Jacobins’ “recklessness” for “abruptly abolishing slavery in the colonies’”—particularly, in Haiti (Abromeit 396). Many of his followers encouraged Italy’s invasions of Libya (1911) and Ethiopia (1936) as “labor imperialist” projects. Like his protégé and fellow revolutionary syndicalist Mussolini, Sorel found Nietzsche’s ideas attractive, especially the philosopher’s contempt for “English ideas,” liberalism, and bourgeois society—and presumably, as well, the Nietzschean affirmation of slavery (Beiner; Sternhell 101, 110, 126, 196, 200). Sorel attacked the idealist tradition while hailing “proletarian ‘violence’” as a new form of authority (Marcuse 2008: 104).

Like Stahl, Nietzsche, and Heidegger, Sorel rejected rationalism, humanism, and natural law. His infamous “revision” of Marxism involved advocacy of the destruction of liberal democracy and parliamentary socialism through class struggle. Paradoxically, like Proudhon, Sorel “refused to touch private property and […] believed neither in equality nor in social justice […].” In reality, this “antidemocratic socialis[t]” envisioned the creation of a “producers’ civilization,” which would effectively function as a “revolutionary capitalism—[or] a capitalism of producers.” In this vein, the Sorelians “had nothing to put in place of capitalism and they did not conceive of a postcapitalist era.” As such, it is not hard to see how such a vision of stripping away liberal norms while retaining the capitalist mode of production could morph into Mussolini’s class-collaborationist, corporatist strategy (Sternhell 22, 28-9, 33, 37, 46-50, 69, 75, 80-2, 91, 117).

In this sense, the birthplace of fascism was neither Italy nor Germany, but rather, France. Though Mussolini would not seize power until 1922, on Sternhell’s account, all the requisite conditions for the propagation of the fascist ideal were in place before the outbreak of World War I (1914-1918). In the years after the publication of his Reflections on Violence (1908), a volume that exhorted the proletariat to wield violence to annihilate the bourgeoisie, Sorel abandoned socialism in favor of ultra-nationalism and the “conservative revolution.” In turn, Sorel inspired the founding of the national-syndicalist Cercle Proudhon in late 1911 as a clearing house for “nationalists and leftist anti-democrats.” The futurists and Sorelians in this Cercle highlighted Proudhon’s defense of private property, militarism, traditionalism, sexism, and anti-Semitism. As champions of anti-rationalism, anti-humanism, pessimism, a “revolutionary” hatred of democracy, and fidelity to Sorel’s masculinist cult of violence, these left-right syncretists proclaimed their ideal “the nonproletarian revolution, the national revolution” (Sternhell 4, 7, 27-9, 69, 75, 78, 80, 86, 90, 124, 130). As Marcuse might say, the Sorelians failed to question, much less overcome, technical reason; instead, they inspired Mussolini and Hitler to build on Sorel’s vision of a future wherein the “cult of energy” and “authority would emerge victorious all along the line” (Sternhell 24-7, 129, 168, 236-7).

Crucially, Sternhell distinguishes between the theoreticians of revolutionary syndicalism and anarchists. For Sorel and his followers, “the principle of authority was never in question.” In fact, “Sorelism detested anarchism,” and the master’s right-hand man, Édouard Berth, “wrote that ‘a real abyss’ divided the ideas of the syndicalists from those of the anarchists.” Paradoxically, the Sorelians opposed the concept of self-management, whether individual or collective; effectively, they proposed a hierarchical and productivist society run by syndicates (Sternhell 31, 103-104, 127, 218-223). Ultimately, these revolutionary unionists were just used by the Fascists to seize power. After all, conceptually speaking, national syndicalism and corporatism utterly contradict the cause of worker autonomy. As we know from Franz Neumann’s Behemoth (1942), the Nazi regime was run in the interests of the industrialists, the bureaucracy, the military leaders, and the National Socialist Party (Neumann). Accordingly, Sternhell is right to conclude that fascists’ use of leftist discourse always has “’rightist’ results” (211), just as Rocker is right to denounce Stalinism and Fascism as totalitarian ideologies that “both grew on the same tree” (Bernardini 7).

Even so, the case of Sorel is a disturbing one, considering how it illuminates the overlap between left and right, which are categories that are often considered to be mutually exclusive. How can it be that Jacques Rancière describes Sorel (perhaps unfairly) as an anarcho-syndicalist, that Mussolini and the Sorelian George Valois had had anarchist sympathies before embracing national socialism, and that so many Italian revolutionary syndicalists became Fascists? (Rancière 61; Sternhell 96, 143) In reality, many leftists and fascists commonly emphasize direct action, energy, violence, heroism, and sacrifice, while championing the will to power and conquest and critiquing “moralism” (Sternhell 29, 176-9). Mussolini and the Nazis admired Bolshevik authoritarianism, and Stalin trusted and allied with Hitler—rather irrationally, it turns out (Arendt 308-9; Bernardini). Part of the appeal of Sorelianism to syndicalists and nationalists alike was (and remains) its claim that both groups share(d) common enemies in liberalism and parliamentarism. Especially in the wake of postmodernism, many self-proclaimed leftists share a reactionary commitment to anti-universalism (Sternhell 163, 250-1). Whether a century ago or now, it is apparent that Sorelians, neo-Stalinists, and national socialists merely seek the worst of all possible worlds: that is, capitalism without any rights at all (Hensman).

Althusser’s Lesson

In Althusser’s Lesson (1974), the French philosopher Jacques Rancière takes his former professor to task for siding with the Communist Party of France (PCF), which opposed the revolutionary student movement of May 1968 as “petit bourgeois.” In regurgitating the Party line, Althusser effectively defended the division between mental and manual labor, privileging the former over the latter, while affirming the “very model prescribed by the philosophy of educators: enlightened despotism.” (In contrast, Sartre supported May 1968.) Besides Althusser’s disgrace, Rancière’s volume is focused “on the much broader logic by which subversive thoughts are recuperated for the service of order” (Rancière xvi, 11, 19, 54).

In this vein, Rancière identifies Althusserianism as a discourse of order wrapped up “in the language of leftism.” He traces its origin to “the desire to combat the revisionist tendencies that had seeped into philosophy following the Twentieth Congress” of 1956, when Nikita Khrushchëv denounced the crimes of Stalin, his then-deceased predecessor. In other words, Althusser followed Mao Zedong and the Chinese Communist Party in their questionable defense of Stalin, announced during the Sino-Soviet split in the post-1956 context. Broadly speaking, for Rancière, Althusser’s career amounted to the “fight of a ‘communist philosopher’ against that which threatens both the authority of his Party and of his philosophy: [namely,] Cultural Revolution on a global scale.” Both Althusser and the PCF leadership were anxious about the discovery of Marx’s Economic-Philosophic Manuscripts of 1844, which so moved Fromm, Marcuse, Raya Dunayevskaya, and others, because they feared the creation of a “political authority other than the Party.” Accordingly, Althusser maligned these pieces as having been written during Marx’s “petit bourgeois” as opposed to “proletarian” communist phase—despite the fact that this distinction is entirely arbitrary. In terms of theory, Althusser insisted that “Marxism is a[n] anti-humanism,” proposing instead that humanism is “bourgeois idealism,” while championing Marxist-Leninist orthodoxies through his promotion of “an unofficial version of Stalinism” (Rancière xx, 9, 21, 23, 33, 72, 78-9, 83, 113, 116).

Indeed, by the time the May 1968 uprising began with student revolt, Althusser had long given up on any ideas he may have had about questioning and dissolving State power, factory despotism, or wage labor. His attacks on the syndicalist left, and his disgrace over May 1968, speak for themselves. Some of the reconstructive proposals that Rancière considers in closing are ideas about proletarian humanism, self-management, and the independence of labor leading to the autonomy of producers and “a world [re]made for and by the labour community.” At its best, society would operate as a network of cooperatives “which impos[e their] own rhythm on the work [through] non-hierarchical organization” and the democratic recognition of human equality (Rancière 37, 89-90, 93, 108, 117; May).

Conclusion: National Socialism, ‘Anti-Imperialism,’ and Anarcho-Syndicalism

Returning to the attempted Capitol putsch of 2021, we see that this disturbing neo-fascist moment united hyper-masculinity, white-male rage, anddirect action with anti-parliamentarian and anti-democratic politics. As Eric Alterman describes, “Trumpism’s release of suppressed sexual and aggressive drives is a far cry from [what Marcuse termed Eros]. Rather, it represents what Marcuse called the ‘political utilization of sex’ and aggression to reinforce social domination” (Alterman). That being said, this moribund marriage of opportunism with authoritarianism has not been limited in recent years to the far right. In the wake of the rise of self-described ‘leftist’ streamers and ‘anti-imperialist’ bloggers who claim independence from mainstream media while reproducing their brand competitiveness and associated ‘spins’ on reality, many neophyte ‘socialist celebrities’ have profited from “preach[ing] a contempt for democracy and parliamentarism,” as revolutionary syndicalists and ultra-nationalists did a century ago (Sternhell 108, 153).

Along these very same lines, the political comedian Jimmy Dore bases his appeal in a call for the left and the right to “join forces” against “the Establishment.” Likewise, the GrayZone conspiracy theorists deny the existence of concentration camps for Uyghurs and other ethno-religious minorities that are maintained by the Chinese Communist Party in Xinjiang. Appallingly, one of GrayZone’s main shticks is to deny Bashar al-Assad’s responsibility for hundreds of chemical-weapons attacks carried out against insurgents and civilian communities alike in Syria over the past decade. We shouldn’t, therefore, be surprised that Dore and GrayZone have now switched to promoting disinformation about COVID-19 vaccines, and agitating in favor of the use of ivermectin to treat COVID.

Rancière mentions the case of Pierre Daix (1922-2014), a journalist who first “denied the existence of labour camps in the Soviet Union [in 1949]; he never convinced anybody,” and then he resigned from the PCF in 1974, after having engaged with Solzhenitsyn’s GULAG Archipelago (1973) (Rancière 107). Given the profit and self-promotion involved, we cannot expect the GrayZone editors to argue in good faith about history or current events, much less renounce their absurd positions. The problem is that they do seem to convince their audiences, who admittedly may already be predisposed to aggressive, delusional, and sadistic thought-patterns and behaviors. Like Althusser over May 1968, ‘anti-imperialist’ authoritarians—ostensibly on the left—have built up their brands by denying the existence of the Syrian Revolution over the past decade on the one hand, and covering up the egregious atrocities carried out by the counter-revolutionary axis on the other: that is, Assad and his Russian and Iranian allies. With nearly a million Syrians murdered, and millions more displaced internally and across borders, the “line” of GrayZone and its sympathizers—of allying with the executioners—is a fundamental violation of leftist and Enlightenment principles around internationalism, humanism, and egalitarianism. In short, this ‘anti-imperialist’ discourse is merely another discourse of order and a “consecration of the [status quo] in the language of revolution” (Rancière 124).

Around Syria, the Trump regime, and COVID-19, we have seen a clear convergence between Stalinists and fascists who seek to marry revolution with tradition by advancing anti-rationalism, anti-humanism, and a hatred of democracy (Stites 250; Sternhell 240-1). The risk is that contrarian bloggers and streamers in touch with these currents are implicitly and paradoxically promoting neo-Nazism by espousing “an authoritarian and corporatist national revolution based on an ‘anticapitalist’ alliance” (Sternhell 248). Though this risk may seem exaggerated, the experience of four years of Trump, plus the resentment that persists over his electoral loss, show us just how much support the Counter-Enlightenment continues to enjoy.

Within this struggle, in the hopes of avoiding contributing to a reinvigorated fascism in our time, anarchists and anarcho-syndicalists should restate our opposition to private property, and our universal support for worker and community self-control of the economy and polity. Plus, we should revisit implicit or explicit futurism, anti-rationalism, and anti-humanism in the movement, and in our history, plus reconsider to what extent sharing a Nietzschean, Heideggerian, or Sorelian critique of liberal democracy is helpful. Furthermore, the cause of worker autonomy, which is realistically the only means of ensuring the preconditions for collective liberation and protection of the Earth from climate destruction, might greatly be assisted by integrating the insights from Critical Theory about the psychological dimensions of overcoming hierarchy, which ultimately is based on voluntary obedience, into labor organizing. Therefore, I conclude: anarcho-syndicalists and critical theorists, unite!

Works Cited

Abromeit, John. “Transformations of Producerist Populism in Western Europe.” Transformations of Populism in Europe, the United States and Latin America: History, Theories and Recent Tendencies. Ed. John Abromeit. Unpublished manuscript. 367-413.

Alterman, Eric 2021. “Altercation: Authoritarians Amok.” The American Prospect. Available online: https://prospect.org/politics/altercation-authoritarians-amok. Accessed 25 September 2021.

Arendt, Hannah 1968. The Origins of Totalitarianism. San Diego: Harcourt.

Beiner, Ronald 2021. “Dangerous Minds in Dangerous Times.” Thesis Eleven, vol. 163, no. 1. 29-42. doi:10.1177/07255136211005989.

Bernardini, David 2021. “A different antifascism. An analysis of the Rise of Nazism as seen by anarchists during the Weimar period.” History of European Ideas. DOI: 10.1080/01916599.2021.1963629.

Gandesha, Samir 2019. “The “Authoritarian Personality” Reconsidered: the Phantom of ‘Left Fascism.’” American Journal of Psychoanalysis. 79(4): 601-624. doi: 10.1057/s11231-019-09227-w. PMID: 31745203.

Hensman, Rohini 2018. Indefensible: Democracy, Counterrevolution, and the Rhetoric of Anti-Imperialism. Chicago: Haymarket Books.

Marcuse, Herbert 1999. Reason and Revolution: Hegel and the Rise of Social Theory. Amherst, NY: Humanity Books.

— 2008. A Study on Authority. Trans. Joris de Bres. London: Verso.

May, Todd 2008. The Political Thought of Jacques Rancière: Creating Equality. University Park, PA: Penn State University Press.

Neumann, Franz 1942. Behemoth: The Structure and Practice of National Socialism. London: Victor Gollancz.

Plechanoff, George 2014. Anarchism and Socialism. Trans. Eleanor Marx. Charleston, SC: CreateSpace.

Rancière, Jacques 2017. Althusser’s Lesson. Trans. Emiliano Battista. London: Bloomsbury.

Sartre, Jean-Paul 1983. Cahiers pour une morale. Paris: Gallimard.

Sternhell, Ze’ev 1994. The Birth of Fascist Ideology: From Cultural Rebellion to Political Revolution. Trans. David Maisel. Princeton: Princeton University Press.

1Marcuse comments: “Hegel wrote his Philosophy of Right as a defense of the state against this pseudo-democratic ideology, in which he saw a more serious threat to freedom than in the continued rule of the vested authorities” (1999: 180).

Critical Theory in Ursula Le Guin’s Always Coming Home

October 11, 2021

These are my comments, presented on October 9, 2021, at the Ninth Biennial International Herbert Marcuse conference, on the panel “Ecology and Revolution.” My co-panelists were Thais Gobo, Sergio Bedoya Cortés, and Dan Fischer.

“’Is the world at its end?’

[…] ‘There is no end.’” (Le Guin 281)

In the realm of speculative fiction, the late historian Richard Stites identified three emergent themes in art from the early Soviet period: namely, portrayals of capitalist hells (or dystopias), alternative and anti-modern utopias, and communist heavens (Stites).1 In the century since the Russian Revolution, utopian and dystopian anti-capitalist themes have resonated in science fiction, including literature, films, and games. For instance, Yevgeny Zamyatin’s We (1921) inspired George Orwell’s 1984 (1948), while the visionary anarcha-feminist Ursula K. Le Guin’s Always Coming Home (1985) pays tribute not only to Zamyatin but also to their common predecessors: namely, the anarchist novelist Lev Tolstoy, and the anarcho-communist theorist Peter Kropotkin. A generation before the Russian Revolution overthrew Tsarism and landlordism, the British poet William Morris had written News from Nowhere (1890) as an imaginative journey to a liberated England of the future, organized along free-communist and ecological lines.

In this sense, Le Guin’s award-winning2 novel Always Coming Home combines elements of heavenly communism with anti-modern and alternative utopianism to seek out a “good place” for humanity, even within the precarious context of a future climate-devastated Earth (Le Guin 19). In the words of John P. Clark, this book “is a critique of ‘living outside the World.’ And it is a critique aimed at us” (Clark). In this presentation, I will elucidate Le Guin’s reconstructive vision, which heralds our potential for harmony and “liv[ing] inside the world,” while also contemplating her portrayal of the grim realities of socio-political oppression and ecological crisis (156). I will then compare Le Guin’s views on technology, gender, and authoritarianism with the critical perspectives of Erich Fromm and Herbert Marcuse, before concluding.

Always Coming Home

Rendering homage to her parents, the ethnologists Alfred Louis and Theodora Kroeber, Le Guin (1929-2018) uses anthropological approaches to narrate this exploration of ‘future history.’ As an interdisciplinary work, Always Coming Home combines speculative ethnology with poetry, parables, music, spiritual journeys, and emblematic memoirs to (re)construct the world of so-called Kesh culture. In “the Valley” of California in the deep future, the Kesh have set up an egalitarian society based on anarcha-feminist principles of care, free love, and the gift economy.3 Among the Kesh, hierarchies between mental and manual labor are relics of the past. Valley people practice both hunting and gathering as well as communal horticulture, insofar as the two-season climate (wet-dry) allows. The lands surrounding each Kesh settlement are divided into “hunting” and “planting” sides. Although five Houses exist in the Valley, they are “not arranged in any hierarchy of power, value, etc., nor [i]s there rivalry among them for status.” On the one hand, to be “rich” in Kesh society means to be generous; on the other, Kesh culture associates violence with masculinity (Le Guin 44, 70-1, 83, 93, 128n123, 158, 175), such that, in this work, “[t]he patriarchal […] is identified with the imperialistic” (Jameson 67).

The Kesh practice matrilineal exogamy: in other words, men go live with their wives’ families after marriage, and partners bond across communities (8-9, 44). They are also sex-positive: men proposition women erotically from positions of supplication, not domination, as adolescent boys engage in gay banter, and LGBT couples freely cohabitate (219, 366). The Kesh “dance the Moon” every year, when all marriages and partnerships are temporarily dissolved, and men and women ritualistically join together for nights of lunar-inspired group sex. Comprised of groups of towns within the wilderness rather than cities dominating the countryside, Kesh settlements are organized around the heyimas, a sacred space dedicated to learning, book-making, and the creation of art (Le Guin 242-50, 274, 298, 314-6).

Through the practice of “heyiya,” or the recognition of the sacred and boundless interconnectedness of humanity, flora, and fauna,Valley peoples practice a religion lacking gods. As such, their belief-system recalls Daoism, Buddhism, Hermann Cohen’s vision of a “religion of reason,” and the Lakota philosophy of mitakuye oyasin (or the interrelatedness of all life). It hearkens back to the Neolithic, when it is believed that there was “no separation between the secular and the sacred” (Eisler 23). Moreover, Le Guin’s concept of heyiya resembles the traditional Chinese idea of qi, or “life-force,”and the Freudian libido. The interconnected spirals of the heyiya-if, known as “the visual form of an idea which pervaded the thought and culture of the Valley,” strongly resemble the Daoist taijitu, with the latter’s dualities of light and dark (Le Guin 45).

Through heyiya, the Kesh do not repress contemplation of mortality, but rather, integrate reflection on death into song, dance, and poetry. Like Siddhartha Gautama Buddha, they acknowledge that existence is pervaded by pain and suffering. Valley people recognize rather than deny humans’ animality, and seek to emulate the mutual aid practiced by our cousins, who “live softly” and peacefully, and “don’t make it hard to live.” Though they utilize animal products, the Kesh refer to non-human animals as people, as in the Russian животные (“living beings”) (Le Guin 83-94, 112, 114, 160, 366-7).

In ecological terms, this future-world is marked by capital’s desolation of the global climate. Implicitly speaking to the threat of sea-level rise posed by the melting of the world’s glaciers and polar ice caps, Grey Bull recalls a journey by sailboat to what must previously have been the San Francisco Bay Area, whose houses, buildings, streets, and roads now lie at “the bottom of the sea” (Le Guin 138).

“Under the mud in the dark of the sea there

books are, bones are […].

There are too many souls there” (Le Guin 390).

Speculatively, there may be an intertextual connection between this estranging journey into the effects of global warming portrayed by Le Guin, and the premise of Kim Stanley Robinson’s New York 2140 (2017), which features a future wherein the polar icecaps have melted, with New York—like other low-lying cities—irreversibly inundated. Steven Spielberg’s film Artificial Intelligence (2001) is similarly set in a flooded Earth of the future. Likewise, at the conclusion of Planet of the Apes (1968), audiences learn that this dystopian world is in fact our own, deep in the future, after human society has collapsed. By contrast, in Always Coming Home—despite the ecological constraints imposed not only by catastrophic global warming, but also by chemical and radioactive pollution of the environment—Le Guin’s sympathetic portrayal of Kesh society arguably constitutes an (an)archaeology of the future: a vision, in other words, of “what [we] can become” (Le Guin 136-41, 159; Eisler 5). With the help of an information “Exchange,” the Kesh use soft technologies, including cybernetics, railways, and solar energy, to decentralize production and decision-making—thus integrating the past visions of Peter Kropotkin, William Morris, Lev Tolstoy, Murray Bookchin, and Marshall Sahlins, among others (Le Guin 379-80).

Valley vs. Condor: Kesh vs. Dayao

Le Guin’s narrator and alter ego Stone Telling emblematically experiences “two radically different cultures” (Clark): namely, that of the “introverted but cooperative” Valley people (or Kesh), and that of the Condor people, otherwise known as the Dayao. The Condor are a nomadic group of marauders who practice militarism, ultra-misogyny, slavery, and cruelty toward animals (Le Guin 29). Being the daughter of a Valley woman known as Willow and the Condor commander Terter Abhao, Stone Telling finds herself between worlds. As an adolescent, she embarks on a dystopian spiritual journey of exile from the Valley north with Abhao, and suffers in the City of Condor for seven years.

Named by the Kesh for the gruesome carrion bird, the Condor are “Men of no House [or home],” who are “at war with every peoples of the lands […]” (Le Guin 16, 192, 379). Theirs is a dominator society, where “male dominance, male violence, and a generally hierarchic and authoritarian social structure [are] the norm” (Eisler 45). Farmers known as tyon serve the military bureaucracy, which in turn invests in “Great Weapons” with which to conquer, extract, and enslave. Stone Telling describes with dismay how Condor men brutalize non-human animals, and questions why they ever had tried to resurrect imperialism. For the author, hyper-masculinity, domination, and violence are all linked: “Everything among the Dayao had to have a chief […]. Everything they did was war.” In other words, they “stood in no relation to anything in the world” (Le Guin 38, 190, 199, 349, 380).

In this pyramidal society, “True Condors” can only be men, and literacy is violently restricted to the soldier caste. “Condor Women” occupy an intermediate position in the social hierarchy, while “all other women, foreigners, and animals” are viewed with contempt as “hontik,” or “half-animal[s].” The Dayao effectively practice purdah, or gender apartheid, as well as polygamy, and wives are expected “to have babies continuously.” Given the hegemonic view among the Dayao that women are viewed as men’s property, honor killings are normalized and even encouraged. This contrast starkly with Kesh grammar, thought, and social practice, which—like the Anarresti language in Le Guin’s other ‘ambiguous’ anarchist utopia, The Dispossessed (1974)—“makes no provision for a relation of ownership between human beings” (Le Guin 42n40, 193-9, 200, 340-8, 345-6).

Through their casteism, gross sexism, and ultra-violence, the Condor soldiers recall the ancient Greeks, Vikings, Mongols, conquistadores, and other slaveowners of yore, plus the Hindutva and Taliban of today—not to mention Frank Herbert’s fictional portrayal of House Harkonnen in Dune (1965). The reactionary modernism and technical reason they practice—evinced in their use of napalm, and in their reconstruction of battle tanks—bring to mind U.S. and Nazi imperialism.

Having realized the “wrong way” of life in the City of Condor, Stone Telling recruits her father into helping her leave with her infant daughter Ekwerkwe and servant Esiryu. Though Terter is killed for his insubordination, the female trio succeed in escaping. Returning to the Valley not to intimidate or colonize, as Abhao—who “was in mind and heart no warrior at all”—had done under orders decades prior, Stone Telling renames herself “Woman Coming Home” (Le Guin 34-6, 353-8, 368). Ultimately, the author closes by denouncing “the manipulative world of domination we actually find ourselves in,” and affirming “the cooperative world of freedom we are capable of creating” (Clark).

Elements of Critical Theory in Always Coming Home

Le Guin was an anarcha-feminist who was well-versed in the writings of Bookchin, Kropotkin, and presumably also Tolstoy. I am unaware of her having read or directly engaged the critical theorists of the Frankfurt School. Nonetheless, they were contemporary radicals for many years, and many of the concerns raised in Always Coming Home closely parallel the critical analyses made by Erich Fromm and Herbert Marcuse. Indeed, Le Guin all but cites Fromm’s The Sane Society (1955) when she concludes that “[w]hat we call strength [the Condor] calls sickness; what we call success it calls death” (Le Guin 380). Here, I will briefly examine three common themes found in Le Guin, Fromm, and Marcuse’s social theories: the dialectical analysis of technology, the avowal of feminist humanism, and the framing of psychosexual sadomasochism and political authoritarianism as dynamic systems.

Considering that the Kesh ‘economy’—such as it is—bases itself on hunting, gathering, and communal horticulture, and that the world depicted in Always Coming Home has been devastated by global warming and industrial pollution, some might take Le Guin to be a Luddite, and/or sympathetic to undialectical “anti-civ” discourses. Yet, neither such interpretation would be convincing. The author clearly favors literacy, learning, and life-long education for all, together with the egalitarian practice of medicine, and the use of “soft” technologies, such as gardening, sailboats, trains, and solar energy. In this sense, Le Guin takes a dialectical view of technology, whereby the so-called “Exchange” can help the Kesh designs tools with which to build an anarchist society, but it can also facilitate the Dayao’s militarist and genocidal expansionism.4 In turn, as we know, Marcuse and Fromm saw modern technology as a double-edged sword that could radically reduce the need for alienated labor and provide enough for all while also greasing the wheels toward fascist authoritarianism and collective self-destruction through war and ecological collapse.

Beyond this, Le Guin’s anarcha-feminist vision overlaps with aspects of Marcuse’s socialist feminism and Fromm’s psychosocial interest in matriarchies. Dialectically, the psychoanalyst Nancy Chodorow critiques Marcuse’s Eros and Civilization (1955) as advancing an “anti-masculinist stance,” while also “manifest[ing] a near-complete invisibility […] of women as subjects” (Chodorow 140). Although it is true that Marcuse took several decades to advance a specifically feminist critique, in his last decade of life, he strongly endorsed the feminist movement for the potential he saw in it to transform society in a non-repressive way. In “Marxism and Feminism,” Marcuse hails the women’s rights movement, envisions a “feminist socialist” future, and endorses the androgynous ideal (Marcuse 165-172). Likewise, Fromm studied the findings of anthropologists like Robert Briffault to contest the orthodox-Freudian idea that the Oedipus complex is universal. Taking into account matriarchal and matrilineal societies of the past, such as Minoan Crete and Çatal-Hüyük, Fromm proposed that all love and altruism derives from the relationship between mother and child. Like Le Guin, he found in matrilineal societies a life-affirming alternative to Puritan and capitalist oppression (Jay 94-6).

Lastly, Le Guin closely echoes Fromm’s humanistic psychology in her examination of the psychodynamics of hierarchy: that is, of “the slave mind” (Le Guin 358). Particularly regarding gender, Le Guin illuminates domination as contingent: she shows that patriarchy and women’s self-derogation are upheld by attitudes, behaviors, and institutions that affirm male privilege and authority, and that, for the same reasons, such forms of oppression can be undone. For Le Guin, as for Fromm, defective social relations—including sexism, authoritarianism, and exploitation—persist because the less powerful party within such relationships—whether they be partners, workers, or slaves—resign themselves to such dehumanization. At the same time, as Hegel recognized in his dialectic of lordship and bondage, such relations of domination can be upset, if and when the subordinated party chooses to rebel. After all, mutual recognition is the humanistic alternative to involuntary sadomasochism (Chancer).

In Always Coming Home, we see how Terter Abhao professes his thoughtless faith in hierarchy: “As I give orders, I obey orders. In this matter I have no choice.” Additionally, when Stone Telling is enthralled to Condor culture in exile, she considers Esiryu “my slave, whom I obeyed.” Yet, back in the Valley, expressing anarcha-feminist humanism, Stone Telling returns to reason. She proclaims that “[t]here is no way that men could make women into slaves and dependents if the women did not choose to be so” (Le Guin 39, 198, 355).

Conclusion

Ursula Le Guin’s ‘ambiguously’ utopian anarchist masterpiece, Always Coming Home, is not only a classic of visionary fiction, but also an allegorical exploration of how we might salvage the future, within the context of catastrophic global warming. Following Bookchin’s framework of social ecology, and echoing the foundational message of Critical Theory, Le Guin shows how social, political, and economic domination are irrevocably tied in with ecological destruction. Her anarcha-feminist critique is disturbing in its persistent relevance: like the shocking recent femicides of Sarah Everard and Sabina Nessa in London, and of Gabby Petito in Wyoming, Le Guin’s book speaks to the centrality of “[m]ale violence against women […] in the fabric of our society,” and the need to “rip[ it] out” (Bate). Ultimately, against those who, with “their heads on wrong,” would perpetuate authoritarianism and self-destruction, Always Coming Home proposes that our best recourse is mutiny, rebellion, exile, and autonomy (Le Guin 159).

Works Cited

Bate, Marisa 2021. “Sarah Everard’s murderer has been sentenced. Now, Cressida Dick must go.” Open Democracy, 30 September. Available online: https://www.opendemocracy.net/en/opendemocracyuk/sarah-everards-murderer-has-been-sentenced-now-cressida-dick-must-go. Accessed 3 October 2021.

Chancer, Lynn S. 2020. “Feminism, Humanism, and Erich Fromm.” Erich Fromm’s Critical Theory: Hope, Humanism, and the Future. Eds. Kieran Durkin and Joan Braune. London: Bloomsbury. 96-107.

Chodorow, Nancy 1999. Feminism and Psychoanalytic Theory. New Haven, CT: Yale University Press.

Clark, John P. “On Living in the World: Always Coming Home Revisited.” Fifth Estate, forthcoming.

Eisler, Riane 1987. The Chalice and the Blade: Our History, Our Future. New York: HarperCollins.

Enzinna, Wes 2017. “Bizarre and Wonderful.” London Review of Books, vol. 39, no. 9.

Jameson, Fredric 2005. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. Verso: London.

Jay, Martin 1973. The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, 1923-1950. Boston: Little, Brown and Co.

Le Guin, Ursula K. 1985. Always Coming Home. Berkeley: University of California Press.

Marcuse, Herbert 2004. “Marxism and Feminism.” The New Left and the 1960’s: Collected Papers, volume 3. Ed. Douglas Kellner. London: Routledge. 165-172.

Stites, Richard 1989. Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution. Oxford: Oxford University Press.

Notes

1For example, Alexander Bogdanov’s Red Star (1908), Alexander V. Chayanov’s My Brother Alexei’s Journey into the Land of Peasant Utopia (1920), Yevgeny Zamyatin’s We (1921), Yakov Okunev’s Tomorrow (1924), Alexander Belyaev’s Battle in the Ether (1927), V. D. Nikolsky’s In A Thousand Years (1927), or A. R. Palei’s Gulfstream (1928).

2The Janet Heidinger Kafka Prize (1985).

3Indeed, the portrayal of this “Valley” in California may be Le Guin’s tribute to the peaceful, stateless Valley community envisioned in the Daoist story, “Peach Blossom Spring,” written by Tao Qian in 421 C.E.

4Referencing her earlier work, The Dispossessed, Le Guin wrote to Bookchin, saying that she had based her novel in part on his idea of post-scarcity anarchism (Enzinna).

Panels on “Alternative Futures” at the Ninth Biennial International Herbert Marcuse Society Conference

September 27, 2021

On Saturday, October 9, 2021, I’ll be participating on three panels at the Ninth Biennial International Herbert Marcuse Society Conference. The theme this year is “Alternative Futures: Marcuse’s Dialectic of Technology.” While the conference will be held both virtually and in-person at the University of Arizona in Tempe, all panels will be accessible online via Zoom.

“Ecology and Revolution”: Saturday, October 9, 2021, 8:00-9:50am Pacific/local Phoenix Time

Video Recording

Chair: Thais Gobo

  • Thais Gobo, “Authentic Ecology and Liberation: The Refusal of the Domination of Nature Against the Apparatus
  • Sergio Bedoya Cortés, “Ecological crisis, capitalism and critique
  • Dan Fischer, “Let Nature Play: Total Liberation from Compulsory Work
  • Myself, “Critical Theory in Ursula Le Guin’s Always Coming Home

“The Responsibility to Protect (R2P) in the Twenty-First Century”: Saturday, Oct. 9, 2021, 10:00-11:50am Pacific/local Phoenix Time

Video Recording

Chair: Javier Sethness

  • Myself, “Realism, Egalitarianism, and Internationalism
  • Bill Weinberg, “For Solidarity; Against Dictators and Campism
  • Anner G., “The Responsibility to Protect in Tigray”

“Marcusean Politics Today”: Saturday, October 9, 2021, 3:00-4:50pm Pacific/local Phoenix Time

Video Recording

Chair: Andrew T. Lamas

  • Shon Meckfessel, “Anti-Humanism on the Left”
  • Rocío Lopez, “Fascism as Bourgeois Reaction”
  • Myself, “A Critical Theory of Authority”

We welcome discussion, and hope you can join us!