Posts Tagged ‘KPD’

Exposing and Defeating the Fascist Creep

April 7, 2017

Fascist Creep

Copyright, Reprinted with permission. Originally published on 7 April 2017

In light of the fact that Donald Trump is president, and that his consigliere Steve Bannon has publicly expressed a favorable view of the Italian fascist and SS enthusiast Julius Evola; considering the possibility that the neofascist Marine Le Pen’s Front National could win the 2017 elections in France; and given the explosive violence targeting Muslims, Jews and people of color in the US since Trump’s election, the time is certainly right to read and widely discuss Alexander Reid Ross’s new book, Against the Fascist Creep (AK Press, 2017).

As the title suggests, Reid Ross is concerned here with the “fascist creep,” which is related to the idea of the “fascist drift,” or the disturbing attraction many 20th-century leftists felt for this new reactionary ideology. Fascists reject mainstream conservatism as decrepit and corrupt (see the contemporary alt-right’s repudiation of the GOP), and while they violently oppose liberalism, socialism and anarchism, they paradoxically wield left-wing notions, such as solidarity and liberation, as part of their ultranationalist schemes for a falsely classless society, which is to be characterized by “natural hierarchy.” Fascism also relies heavily on myth, in the sense that its proponents seek to restore a “golden age” that supposedly existed in the putatively heroic past by means of “national revolution” against the existing liberal-parliamentarian order. This romantic-revolutionary element represents another commonality in the creep between fascism and leftism, considering the nostalgia for the precapitalist “lost paradise” that sometimes drives left-wing passions. In fact, Reid Ross writes that fascists gain ground precisely by deploying “some variant of racial, national, or ethnocentric socialism,” opportunistically inverting the internationalist goals of socialism. Clearly, fascists and leftists differ principally on the question of egalitarianism, with the latter defending equality by organizing against capitalism, the state, borders, patriarchy and racism, while the former use these oppressive systems to reproduce inequality, domination and genocide.

As Reid Ross explains, US fascists rely on the “radical” or far right cesspool of authoritarian nativists, white supremacists, conservative “revolutionaries” and neoconservatives to mainstream their views, recruit, gain popularity and ultimately seize power. Indeed, we now confront a nightmarish playing-out of this scenario with Trump’s rise to power. Yet the situation is distinct in Europe, where fascists have drawn heavily from the revolutionary-leftist tradition to advance their aims. In this sense, Against the Fascist Creep is a clear warning to the left.

Fascist Origins

Reid Ross situates the historical origins of the fascist creep in imperialism, white supremacism and ableism, considering the models that prior Euro-American colonialists had handed down to Hitler and Mussolini, as during the “scramble for Africa” and the genocides of Indigenous peoples. Moreover, there was a clear connection between the Nazis’ mass murder of people with disabilities, the Holocaust (otherwise known as the Shoah), and Hitler’s plans to annihilate the Slavs and other non-Aryan peoples after defeating the Soviet Union. Jew-hatred, or anti-Semitism, characterizes fascism from its beginnings through to its Nazi embodiment and the present. Yet challengingly, Reid Ross demonstrates the “crossover” between fascism and revolutionary causes, such as syndicalism and ecology, as well. The latter is seen in the commonalities among Romanticism, völkisch ultranationalism and nature conservation — for both Hitler and his National Socialism devotee Savitri Devi [an Anglo-European who embraced Hinduism] were vegetarians who loved animals, and the German Democratic Ecology Party has promoted Holocaust denial, while Earth First! has at some times in its history bolstered white supremacism through its appeals to Nordic paganism. The overlap between fascism and syndicalism is illuminated by the example of the original fascist creep, Georges Sorel, a revolutionary enthusiast of the “myth” of the general strike, whom Mussolini would declare as “our master,” and who in turn supported Il Duce. Sorel’s followers, founders of the Cercle Proudhon, emphasized this French anti-Semitic anarchist’s anti-parliamentarianism while downplaying Proudhon’s relative egalitarianism, leading to the paradoxical creation of the ultranationalist idea of national syndicalism that partly inspired Italian Fascism. Reid Ross explains that Mussolini sought to integrate syndicalism into a corporate state while repressing the left and projecting an image of societal regeneration.

As is known, the “demonstration effect” of Mussolini’s seizure of power through the October 1922 March on Rome influenced Hitler and the Nazis to declare “national revolution” and lead the Munich “Beer Hall Putsch” against the Bavarian government. With Hitler imprisoned following this failed uprising, Gregor and Otto Strasser pushed Nazi ideology toward völkisch national socialism, proposing the mass deportation of Jews, the redistribution of property, and syndicalist integration. Following Hitler’s release, tensions raged between these competing factions — the SA (or Brownshirts) and SS (or Blackshirts) — as the Strassers, Ernst Röhm and the SA increasingly became a liability to the German ruling class, which sought to employ the Nazis against the workers. In 1930, Otto Strasser was expelled from the Nazi Party for supporting strikes, and he went on to found the “Black Front” and “Freedom Front” to undermine Hitler, but this “left faction” was eliminated with the SS’s assassination of Röhm, Gregor Strasser and other SA leaders on the Night of Long Knives in July 1934.

Meanwhile, the German Communist Party (KPD) considered a Nazi takeover preferable to the continuation of the Weimar Republic, and even in some ways worked with Hitler to undermine it, echoing the Stalinist conception that the social-democratic opposition was “social fascist.” Nevertheless, one must not overlook the courageous self-defense efforts of the communists and the social democrats in the Red Front Fighters’ Alliance (RFB) and Antifascist Action (AFA), as well as the Reichsbanner, respectively. The rest, from Hitler’s takeover in January 1933 to World War II and the Shoah, is well known history, though Reid Ross’s observation that Nazism in power served capitalism and tradition bears echoing, as it belies the fascist claim to revolutionism and commitment to workers’ interests. This dynamic is reflected well in the substantial investment and political support afforded to Hitler and Francisco Franco by US corporations.

Post-War Fascism

Unfortunately, the defeat of the Axis would not mark the end of fascist intrigue, as Nazi war criminals were rehabilitated in West Germany and served US imperialism in the Cold War. Evola, Otto Strasser and their followers continued to mobilize after WWII, particularly against NATO’s presence in Europe — so as to “liberate” the continent — and in favor of the “strategy of tension” to strengthen state power, as seen in Italy and Latin America. Strasser’s advocacy of a “third position” beyond capitalism and Stalinism influenced fascist and “national communist” movements in France and Italy, while the Evolian Alain de Benoist developed the theoretical underpinnings of the Nouvelle Droite (“New Right”), which opposes equality in favor of apartheid, “difference” and “diversity,” and calls for whites to mobilize pride for their ancestral, pagan past against the ostensible impositions of the Judeo-Christian, liberal-multicultural system.

Transitioning from the Cold War to the present, Reid Ross identifies several continuities between historical and contemporary fascist creep. This plays out in five theaters:

• The “Radical Right”: The non-fascist ethnocentric populism of the far right is crucial in the fascistization process. In the US, this has involved Willis Carto promoting the ideas of global racial apartheid in the Right journal and working with white and Black nationalists to oppose the supposed common enemy of Zionism. The resurgence of the Ku Klux Klan under David Duke’s leadership, accelerating settler-colonial fantasies about creating a “white homeland” in the Pacific Northwest, and the emergence of the neo-Nazi “Order” terrorist group represent other important historical examples of the cross-over between the far right and fascism in the US. Moreover, the Patriot and Minutemen movements — allies to Pat Buchanan, the Tea Party and Trump — are strongly tied to the idea of private property, while the collaboration of the “Chicago School” of market fanatics with Augusto Pinochet’s fascism is well known. An admirer of Pinochet and Franco, the rabid anti-Semite Jean-Marie Le Pen and his Front National, followers of the Nouvelle Droite, represent the French Radical Right, while the Austrian Freedom Party (FPÖ) — which narrowly lost the 2016 presidential elections — has advanced Holocaust denialism from its beginnings.

The Third Position: Neo-Nazi nostalgia for Strasserism as an alternative to Hitler was diffused in the 1980s through punk music, particularly that of the band Death in June and the general “Rock Against Communism” impetus that arose in response to the “Rock Against Racism” directed at skinheads. Strasserism also informed the White Aryan Resistance’s (WAR) efforts to instigate racial war in the US at this time, particularly in the idea of a “Wolfstadt” to be declared in the Pacific Northwest, as well as Troy Southgate’s concept of “national anarchism,” whereby left and right would unite against the State and create new decentralized societies based on strict racial separation.

• National Bolshevism: Though first suggested by Strasser, the unseemly idea of melding red and brown into “national Bolshevism” took off in Russia and Germany following the collapse of the USSR. The Evolian Alexander Dugin — a major ally of Vladimir Putin’s — hailed the “radically revolutionary and consistent fascist fascism” surging in post-Soviet Russia as ultranationalists mercilessly attacked foreigners in the streets and Boris Yeltsin and Putin leveled Grozny, capital of Chechnya. Fascists from all over Europe joined either side in the Yugoslavian Civil War as well. More recently, Dugin has promoted his “fourth political theory” — an amalgam of fascism, irrationalism and traditionalism — by uniting “anti-imperialists” with “national conservatives.”

• Fascists of the Third Millennium: The 1990s and early 2000s saw neofascist groups continue creeping by infiltrating the anti-globalization, ecology, animal rights and anarchist movements, attempting to reorient them into pro-fascist directions. This phenomenon of entryism has typified the national-anarchist, “pan-secessionist” and “autonomous-nationalist” tendencies (see below). During this time were born Golden Dawn (Greece) and Jobbik (Hungary), while the British National Party (BNP) swelled in popularity; all of these groups follow the Nouvelle Droite and the Third Position.

• Autonomous Nationalism: Perhaps the most bizarre neofascist formation is that of the “autonomous social nationalists,” who mimic their German anarchist predecessors the Autonomen in style and militancy, supporting syndicalism, radical ecology and insurrectional street-fighting tactics against capital and the State — only that they also violently target immigrants, Jews, leftists and Roma, seeking the creation of an “authentic” völkisch future for Germany. Autonomous nationalists have also been active in Bulgaria and Ukraine, particularly during the run-up to the “revolution” that occurred in the latter country in 2014.

Contemporary Fascism and Resistance

In the book’s conclusion, Reid Ross examines several contemporary fascist trends that illustrate the text’s main concerns, including the overlap between the “American Third Position” and the neo-Nazi American Freedom Party vis-à-vis the US libertarian-propertarian movement, the contradictory support and repulsion for Israel expressed by neofascists, the Orientalist impetus for “CounterJihad” and the idea of Occupy Wall Street bringing left and right together against the system. The author also raises the morbidly fascinating tendency of some known white nationalists publicly supporting people of color rebelling against US police as a means of accelerating state collapse. This seemingly contradictory posturing in fact brings up the larger tendency of “pan-secessionism,” which is related to national anarchism, as its proponents seek to support Indigenous revolutionaries, Black militants, white supremacists and radical ecologists in organizing collective secession from the capital-state system. In point of fact, Reid Ross raises the case of Michael Schmidt, a Strasserite third-positionist and formerly well-known syndicalist historian whom the author courageously and rather controversially exposed in September 2015, as typifying these disturbing neoreactionary trends. Reid Ross also rightly identifies the contemporary alt-right’s approach as desiring to deepen the ongoing crisis so that the retrograde ideologies this phenomenon represents can “come out on top,” while knowingly observing — in an echo of Albert Camus — the crossover among post-anarchist nihilism, anti-civilizational deep ecological thought and neoreaction.

Reid Ross’s newest volume is an excellent and disconcerting study of fascism’s origins, development, present and possible futures. Against the Fascist Creep deserves the broadest possible audience. Hopefully, it can help to inspire a new mass movement to resist all authoritarian ideologies, whether emanating from the State or the “autonomous” grassroots. To overcome the severe threat that fascism and neofascism pose to the Earth and its peoples, only mutual aid and cooperation on a vast scale can succeed. We must press forward by struggling militantly against Trumpism, the “radical” right, Third Positionism, “autonomous nationalism” and authoritarian leftism alike. Against these myriad political and philosophical absurdities, let us advance global anti-authoritarian revolution.

Review of Robert Lanning’s In the Hotel Abyss, by Ignacio Guerrero

June 29, 2015

hotel abyss

Published by Ignacio Guerrero on Heathwood Press, 25 June 2015

“What is negative is ne
gative until it has passed.”

– Theodor W. Adorno, Negative Dialectics

In his newly published In the Hotel Abyss, Robert Lanning presents an Hegelian-Marxist critique of Theodor W. Adorno, the famous twentieth-century critical theorist, aesthetician, and musicologist. In the work’s title and content, Lanning reiterates and expands György Lukács’ charge that Adorno and other like-minded contemporary German philosophers had effectively followed the pessimistic example of Arthur Schopenhauer and metaphorically taken up residence in the “Grand Hotel Abyss,” which affords its guests “the daily sight of the abyss between the leisurely enjoyment of meals or works of art,” thus “enhanc[ing their] pleasure in this elegant comfort.”1 With his colleague Max Horkheimer, Adorno’s predecessor as director of the Institute for Social Research at the University of Frankfurt (also known as the Frankfurt School) and his writing partner for Dialectic of Enlightenment (1944/1947), “Teddy” shares a common theoretical inspiration emanating from Marxism, as reflected in the profound critique he advances of bourgeois social relations, yet he largely rejects the “positive” moment of historical materialism, which foresees the birth of communism through global proletarian uprisings, the “parliamentary road to socialism,” or some combination of the two.

In this sense, Adorno almost merits the accusation of having advanced the paradoxical concept of a “Marxism without the proletariat.” The very opening of his last work, Negative Dialectics (1966), is illustrative in this sense: “Philosophy, which once seemed obsolete, lives on because the moment to realize it was missed.” For Adorno the leftist German Jew, the “attempt to change the world miscarried.” If one reflects even for a moment on the vast atrocities and historical errors that marred the twentieth century, the latter claim here cited would certainly be justified—but then one asks, what next? Why the sense that history has ended—that the chance for social revolution or even relative improvement has been “missed,” never to return? Can there be no rebirth of rebellion? Lanning is right to stress that Adorno’s politics are not especially helpful as regards reconstructive anti-systemic action, or praxis. Hence, a palpable conflict can be seen between the constant demand Adorno’s political philosophy makes for negation, following Hegel’s example, and his practical suggestion that corrective action is useless and revolution inconceivable, amidst the putatively “absolute power of capitalism.”2

Lanning argues that Adorno’s political philosophy, though highly critical of capitalism and authority, is excessively negative: his view is that it can be summarized as amounting to “unfettered negativity” (172). Lanning denounces Adorno’s seemingly wholesale rejection of the actuality or even potentiality of proletarian resistance and the development of anti-capitalist and anti-systemic alternatives, in light of the established power of monopoly capitalism and its culture industries. In Adorno’s presentation, as is known, the working-class majorities of capitalist societies are reduced to thoughtless “masses,” both colonized by and integrated into capitalism—supposedly willingly, on this account. Lanning posits that such a point of view leads Adorno inexorably to adopt an “essentially […] defeatist perspective”: “to him the class struggle was already lost” (18, 25). Having repudiated the positive and practical aspects of historical materialism, Adorno concerned himself with specializing in high art and writing in an exceedingly inaccessible style—as in the image of the Grand Hotel Abyss, indeed—and his few forays into social studies suffer from significant methodological problems, in Lanning’s view. Above all, as Lanning emphasizes, Adorno’s theory of social change is basically non-existent, and the sparse work he focuses on this question rather problematic. Overall, the author of In the Hotel Abyss is concerned that Adorno’s readers are left dialectically disempowered, even subject to despair, as they contemplate the vast depravity of capitalism and the lack of resistance to the system that Adorno observes, and upon which he concentrates.

This new volume certainly presents many compelling criticisms of Adorno’s lifework, particularly with regard to the philosopher’s elitism and political aloofness—manifestations, to be sure, of his disregard for the unification of theory and praxis, or his doubts even about the possibility of such—and for this reason merits a great deal of consideration, discussion, and debate. Adorno’s philosophical system had many shortcomings, and Lanning helpfully illuminates a number of the most important ones. Yet some of the critique presented In The Hotel Abyss of the philosopher also reproduces Adorno’s own penchant for exaggeration, overlooking the real contributions he made and continues to make to anti-capitalist struggle.

In the Hotel Abyss: Challenging Adorno

Lanning’s critique of Adorno is at its most incisive in terms of the challenge it presents to those who may hold the critical theorist actually to have been left-wing or revolutionary. The evident disconnect between theory and practice highlighted by Lanning in Adorno’s case is notorious. Like Horkheimer, Adorno favored the total overcoming of bourgeois society—its
determinate negation, taking from Hegel’s dialectical method. Yet he dedicated exceedingly little of his intellectual life-work to theorizing about political action or change, and even less to concretely organizing against the system. While he is well-known for his radical critique of capital, as elaborated perhaps most systematically in Minima Moralia: Reflections on a Damaged Life (1951), Adorno doubtlessly errs in holding dialectical contradiction to come to be effectively arrested within the Iron Cage of monopoly capitalism. Speculatively, Lanning hypothesizes that the theorist’s self-assuredness on this point serves precisely as a means of ignoring the very “working class outside Adorno’s door” (11). Admittedly, the absence of discussion about class struggle or revolutionary political action of any sort in Adorno’s oeuvre is evident, and glaring. Lanning suggests that Adorno would do well to reconsider Hegel, who defined the dialectic fundamentally as movement and development, as in the image of the seed and the blossoming flower or fruit. “Where Adorno sees the acquiescence of the masses to the immediate environment he should also see […] the possibilities for developing the individual’s relation to such powers [of capital] and the possible alternatives in the face of it” (36).

From these legitimate points, Lanning proceeds to take issue with Adorno’s concept of negative dialectics for being too radical, or too demanding: the charge is that Adorno’s critical negativism lends itself to an approach which overlooks the necessary intermediary steps between prevailing conformist resignation and the possible emancipated futures. Adorno “reject[s …] any behavior that appears to be positively oriented to the appearance of advancement, progress, partial resolution or sublation of contradictions” (46). Nothing “short of the complete negativity and annihilation of existing conditions” will do for Adorno. Lanning relates his complaint here about the theorist’s effective ultra-leftism to his claim that Adorno adheres metaphorically to the Jewish Bilderverbot, or the ban on images of the divine, as a negative theology which denies the possibility of something different. He further argues that Adorno’s employment of the Bilderverbot marks a distinct break from the Messianism of Judaism and the Jewish socialist tradition. However, it could be argued instead that Adorno’s use of the Bilderverbot illustrates the very revolutionism of his dialectical method, which must remain negative until global capitalist society is overthrown. On this point, in fact, it would seem more than a bit perplexing to accuse Adorno of being insufficiently messianic or utopian. One need only consult the finale to Minima Moralia:

Knowledge has no light but that that shed on the world by redemption: all else is reconstruction, mere technique. Perspectives must be fashioned that displace and estrange the world, reveal it to be, with its rifts and crevices, as indigent and distorted as it will appear one day in the messianic light.3

Violating this liberatory messianic sense, nonetheless, Adorno took a rather problematic view of jazz—one that is consistent with his analysis of the hegemonic culture industries, yet reflective of chauvinism and even racism as well. For Adorno, who first encountered the new musical style in Germany before the fall of the Weimar Republic to Nazism (1933) and his forced exile the next year, jazz was “perennial fashion”: supposedly standardized, commodified, and expressive of pseudo-individuality, jazz on Adorno’s account reproduces the subjectification of the masses through diversion, gratification, and integration. Clearly, Adorno did not associate the development of jazz with its African ethnomusical origins, or seem to have much of any familiarity with its relationship to the historical experiences of people of African descent in the U.S. For him, instead, it was an affirmative musical form that in practice served European fascism, particularly in Italy and Germany. Consideration of this viewpoint can help explain Adorno’s disturbing comments in “Farewell to Jazz,” an essay written in response to the ban imposed on jazz and all other expressions of “Negro culture” in Thuringia state following the Nazi accession to power there in 1930. In this piece, Adorno declares characteristically that, “no matter what one wishes to understand about white or Negro jazz, there is nothing to salvage.”4

Rather self-evidently, then, Adorno’s take on jazz is shocking: to portray it as an affirmation of subordination and alienation and thus ignore its historical and ethnographical context is at best to provide a very partial picture, or indeed to openly declare one’s distinct lack of sympathy with the struggles of Black people—that is to say, one’s racism. On this point, Adorno surely merits all the criticism he has received, and more. Furthermore, Lanning makes the important point that to merely dismiss jazz or any other musical style out of hand for the mere fact of its being commodified on the market is to overlook the very real dialectical possibilities that music can have as regards the emergence and expression of attitudes critical of existing power-relations. Lanning’s analysis is similar in terms of Adorno’s research on radio broadcasts in U.S. society, carried out at Princeton University following his emigration to the U.S. in 1938: the refugee intellectual either was not knowledgeable of the extensive contemporary use of the radio to promote the causes of labor and racial equality in his new host country, or did not believe such alternative programming to bear mentioning, in light of the dominance of the capitalist monster.

Additionally, in parallel, Lanning subjects Adorno’s research on authoritarianism and fascist propaganda to critical review. Overseen by Adorno, The Authority Personality (1950) in its methodology and design followed the first study from the Frankfurt School into the political attitudes of German workers during Weimar, as directed by Erich Fromm in 1931. This previous study was never published, due to its politically negative conclusions: it anticipated that the majority of German workers could be expected to go along with Nazism if it came to power, with small minorities being either strongly pro-Nazi or strongly anti-fascist.5 In a similar way, Adorno and company were motivated to examine the psychological potential for fascism in U.S. society, both by investigating it descriptively, as by theorizing its causes, with the activist end of inhibiting its advance. The resulting study, based on interviews with about 2000 formally educated, white, middle-class men and women mostly from northern California, was conducted by presenting participants with questionnaires such as the Anti-Semitism (A-S) Scale, the Ethnocentrism (E) Scale, the Politico-Economic Conservatism (PEC) Scale, and the Fascism (F) Scale. Dividing the results into a bimodal distribution of high-scoring or prejudiced persons and low-scoring or relatively unprejudiced individuals, the study’s authors take heart in their findings that the majority of participants did not betray extreme ethnocentrism. Yet Lanning calls into question the external validity of The Authoritarian Personality, or its statistical generalizability across society as a whole, by noting that Jews and trade-unionists were excluded from participation, to say nothing of people of color. Presumably, a more diverse study sample could have yielded even greater anti-authoritarian conclusions.

Lanning also shows how Adorno’s investigations into the radio broadcasts of U.S. fascist agitator Martin Luther Thomas—investigations that have been considered innovative, given the theorist’s social-psychological conclusion that fascism advances not just through elite manipulation of the people, but also (and perhaps moreso) through working-class or “mass” complicity—themselves converge with the projected situation Thomas praises: that is, that “large sectors of the population” are sympathetic to fascism due to their putative mindlessness and brutalization in labor (133). Lanning here identifies an unfortunate and revealing affinity between Adorno’s conclusions and the irrationalist hopes of pro-fascist agitators: the view that rationality is possible only for a small sector of the population. This insightful point notwithstanding, the author does not in good faith acknowledge that Adorno and his colleagues in The Authoritarian Personality expressly seek to promote reason as a counter-move to the fascist threat.

Lanning is nevertheless correct in identifying the principal methodological problem in Adorno’s account of fascism as being the theorist’s systematic exclusion from consideration of the proletarian, anti-fascist, and anti-racist movements actively raging around him, first in Germany and then in the U.S. Adorno does not discuss or ever seem to mention the hundreds of street-battles between the German Social Democrats’ self-defense group, the Reichsbanner, and the German Communist Party’s “Proletarian Hundreds” against the Nazi SA in the years before 1933,6 nor did he dedicate much of any attention to struggles for racial equality during his exile in the U.S. (1938-1945). One wonders how Adorno the radical could have overlooked the latter, having lived years in Harlem on Morningside Heights before his wartime move to Los Angeles. For Lanning, then, much of what Adorno claimed regarding authoritarianism was based on little more than “imagery” and self-serving “esotericism”; worst of all, it has functioned to “denigrate the legitimacy of working-class politics by ignoring [them], thus affirming the non-existence of an historical agent for socialism” (150). The author of In the Hotel Abyss identifies Adorno’s sometimes-colleague Ernst Bloch as a more insightful commentator on these matters, given the latter’s view that, however acquiescent the “masses” may be with capital and authority at any given time, this situation should not be taken as final, but rather should be interpreted as a process that can dialectically be “disrupted and redirected,” as reflected in the Blochian concept of the “Not-Yet.”

Lanning’s concluding chapter focuses specifically on Negative Dialectics, and scrutinizes Adorno’s seemingly circular sociological argumentation. In essence, Lanning’s claim is that Adorno holds history’s dialectical dynamic to have been effectively strangled under late capitalism—hence the view imputed to Adorno that culture and consciousness cannot be other than what they are, and that psychological and material subordination within bourgeois society themselves reproduce capitalist domination. Lanning concludes that Adorno broke from the Marxist tradition and “chose to freeze the relations he observed as real […]. His position is that […] these are insurmountable conditions” (191-2). Though the author of In the Hotel Abyss concedes in passing that parts of Adorno’s critique of reified consciousness have merit, he notes that such criticism itself only reflects the alienation resulting from bourgeois society, and he reiterates the charge that Adorno presents no alternative—thus in fact yielding a significant regression in comparison with Marx’s communist method. In closing, Lanning returns to his chastisement of the critical theorist for the latter’s supposedly boundless negativity as well as his undifferentiated critique of “the masses,” which papers over distinctions in class and the division of labor, and he charges Adorno with limiting resistance to the life of the mind and imagination, as in German Idealism, rather than advancing radical political struggle, as materialism does.

Discussion: Negative Dialectics and Anti-Capitalism

Lanning clearly presents a number of serious charges against Adorno’s critical theory. This reviewer concedes that the philosopher’s essentially theoretical orientation is of little use for the political question of how to displace and possibly overthrow capital and authoritarianism, and the contempt Adorno often expressed in life for workers and common people is profoundly lamentable. Both of these negative aspects can be said to reflect Adorno’s considerable privilege, as the male child of a Jewish wine merchant and a Franco-German artist for whom labor was an unknown experience in youth and early adulthood. It would seem that Lanning has something of a point in hypothesizing that Adorno’s elitism perpetuated itself as a “career-building” experiment in “abstruseness” (13)—though Lanning’s claim that Adorno can justly be portrayed as the forerunner of postmodernism is less tenable, as this academic trend lacks the German theorist’s anti-capitalism and anti-authoritarianism. In addition, Adorno’s highly insensitive and even implicitly racist comments on jazz speak for themselves, and may justly cause those encountering them to reject a thinker with whom they may share other affinities. Yet it would be wrong to hold Adorno to have been an ethnic chauvinist, as ethnocentrism is one of the main critical foci of The Authoritarian Personality. In Minima Moralia, Adorno identifies white supremacism as the basis not only of anti-Semitism and the Nazi death camps, but also the repression of people of color in the U.S.: “The outrage over atrocities decreases, the more that the ones affected are unlike normal readers […]. The ceaselessly recurrent expression that savages, blacks, Japanese resemble animals, or something like apes, already contains the key to the pogrom.”7 In this same work, as well, Adorno recalls a childhood memory which complicates the view that his critical theory is irredeemably anti-worker:

In early childhood I saw the first snow-shovellers in thin shabby clothes. Asking about them, I was told they were men without work who were given this job so that they could earn their bread. Serves them right, having to shovel snow, I cried out in rage, bursting uncontrollably into tears.8

Though this passage is ambiguous—it is unclear whether the young Adorno’s emotional reaction is directed against the workers themselves, the injustice they face, or the normalization of such oppression that is expected of him—it at the least shows sympathy for the cause of repudiating class inequality and the realm of necessity. In naturalistic and Freudian terms, moreover, it is significant that this experience took place early in Adorno’s personal development. Of course, the link between the sharing of this memory and a commitment to a concrete syndicalist program is tenuous in Adorno’s case. Similarly, to return to the question of race, one would be hard-pressed to find Adorno expressing support as a public intellectual for contemporary anti-racist and decolonization movements. While Adorno opposed the Vietnam War on a philosophical level, claiming it to carry on the genocidal specter of Auschwitz, he did little to concretely resist it, in contrast to radicals like Herbert Marcuse and Jean-Paul Sartre. Meanwhile, the militant German student movement of the 1960s had arisen largely in response to the Vietnam War and the Federal Republic of Germany’s collaboration with its prosecution, as seen in the U.S. military’s utilization of West German air-bases. The student radicals’ demand that Adorno and Horkheimer publicly come out against the war was one of many that resulted in the conflict which ultimately led to the Institute director’s death on vacations in Switzerland in 1969.

Reading In the Hotel Abyss, it becomes clear how much Lanning dislikes Adorno’s negative-dialectical approach. This disapproval toward the Adornian system may in fact mirror a dismissal of the anti-authoritarianism of Adorno’s seemingly intransigent negativity. In what sense might this be the case? We have seen how Lanning repeatedly rebukes Adorno for his ultra-leftism—his “position […] that capitalism must be completely defeated in all its aspects before the possibility of meaningful change can be considered” (208). One wonders if Lanning realizes he is chastising Adorno here for being faithful to the young Marx’s admonition to engage in the “ruthless criticism of all things existing.” Lanning’s argument against Adorno is thus more than a bit reminiscent of Lenin’s designation of “left-wing communism”—that is, anarchism or syndicalism—as an “infantile disorder”: consider the author’s rejection of Fromm’s designation of expressed political sympathy for Lenin as an historical figure as reflecting an “authoritarian” rather than “radical” attitude within the study on workers in Weimar Germany (144n12). The resort to Lukács for the title and spirit of the work is also telling, given that, while Adorno the unattached intellectual is subjected to critique—no doubt, to repeat, much of it merited—Lukács the advocate of Party Socialism is not.

A fundamental point within Lanning’s argument that bears reconsideration is the author’s very presentation of Adorno’s putatively unrelenting negativity. In his discussions of Bloch and Walter Benjamin, Lanning seeks to depict considerable differences between them and Adorno, when in fact all three held similar political and philosophical views, and greatly influenced one another. While it may be true that Adorno is overall more negative than these two, there certainly are a few positive moments in his oeuvre which anticipate the possibilities of a post-revolutionary society. In his final work, Adorno defines the “objective goal” of dialectics as being the task of “break[ing] out of the context from within.” Further, “[i]t lies in the definition of negative dialectics that it will not come to rest in itself, as if it were total. This is its form of hope.”9 Here, at the conclusion of Negative Dialectics, Adorno posits a vision that is heterotopic to Lanning’s account. Criticizing Schopenhauer’s fatalism and other Kafka-esque manifestations of the belief that the world is irrevocably absurd, Adorno makes the following observations:

However void every trace of otherness in it, however much all happiness is marred by irrevocability: in the breaks that belie identity, entity is still pervaded by the everbroken pledges of that otherness. All happiness is but a fragment of the entire happiness [humans] are denied, and are denied by themselves […].

What art, notably the art decried as nihilistic, says in refraining from judgments is that everything is not just nothing. If it were, whatever is would be pale, colorless, indifferent. No light falls on [humans] and things without reflecting transcendence. Indelible from the resistance to the fungible world of barter is the resistance of the eye that does not want the colors of the world to fade.10

This utopian underside of Adorno’s thought is similarly expressed in Minima Moralia, where the philosopher presents the following images as an alternative for the possible communist future: “Rien faire comme une bête [Doing nothing, like an animal], lying on the water and looking peacefully into the heavens—’being, nothing else, without any further determination and fulfillment’—might step in place of process, doing, fulfilling, and so truly deliver the promise of dialectical logic, of culminating in its origin. None of the abstract concepts comes closer to the fulfilled utopia than that of eternal peace.”11 Thus we see the selectivity of Lanning’s charge of Adorno’s “endless negativity” (208), and the inaccuracy of the claim that Adorno adhered entirely to the Bilderverbot. In this sense, it is unfortunate as well that Lanning ignores Adorno’s 1969 essay on “Resignation,” which was written in response to the criticisms raised precisely by Lukács and the radical student movement against Adorno and the Institute for Social Research. In this momentous intervention, Adorno defends autonomous thought as resistance and praxis: “the uncompromisingly critical thinker […] is in truth the one who does not give in. Thinking is not the intellectual reproduction of what already exists anyway.” As the “universal tendency of oppression is opposed to thought as such,” the “happiness that dawns in the eye of the thinking person is the happiness of humanity,” and whoever has not let her thought atrophy “has not resigned.”12

Whether one accepts Adorno’s defense of the prioritization of theory over action here or not, consideration of this essay and the other positive dialectical images mentioned above problematizes Lanning’s characterization of Adorno’s thought as being entirely negative. Incidentally, Lanning himself almost unconsciously recognizes this at the outset of his discussion of Negative Dialectics, which he presents as demanding a “second” negation to follow the insufficiently radical “first” negation of capitalism—the Soviet Union, say, or social democracy. Lanning then proceeds to write that the Hegelian “negation of negation” amounts to a “positive moment” (174), but he chooses not to connect Adorno’s thought to this point. On this matter, in point of fact, Adorno’s finale to Minima Moralia bears revisiting: “consummate negativity, once squarely faced, delineates the mirror-image of its opposite.”13 From this perspective, the dialectical interplay between the fallenness of bourgeois society and its envisioned inversion in Adorno’s system comes to be seen as having subversive and even hopeful rather than quietistic implications.

The present review will end by raising an important problem in Adorno’s thought that Lanning points to but does not sufficiently develop: the problem of false consciousness and social determination, or who it is that determines social reality. Lanning argues that Adorno’s account of worker or “mass” acceptance of fascism and capitalism represents an exercise in victim-blaming. In Negative Dialectics and other works, Adorno does note that humanity is effectively imprisoned by the system which it reproduces and upholds—in an echo of Kant’s essay on Enlightenment, a concept the transcendental Idealist describes as being inhibited by humanity’s “self-imposed immaturity,” which results from “indecision and lack of courage.” Lanning picks up on this, claiming Adorno to have viewed proletarian conformism as willful. While this charge against Adorno is partly true, as far as it goes, it is also too quick, in that it offers no alternative means of thinking through the observed problem of proletarian integration into capitalist society, and how this might be resisted and overcome. Certainly, a great deal of coercion goes into the reproduction of class society, as Adorno recognizes: “Proletarian language is dictated by hunger.”14 Yet one should not simply hold the capitalist game to proceed through the duping of the workers—for such a view removes the personal and collective agency of the subordinated, and all practical possibility of achieving something different. The present discussion on this complicated matter will close here, though the reviewer firstly should like to mention that autonomous Marxism has tried to address these issues in creative ways, in an echo of Étienne de la Boétie’s innovative Discourse on Voluntary Servitude (1548), and lastly to emphasize that the interrelated problems of conformism and bourgeois destructiveness retain all of their acuity in the present day, nearly a half-century after Adorno’s passing.

1 György Lukács, The Destruction of Reason (London: Merlin Press, 1980), 243.

2 Max Horkheimer and Theodor Adorno, Dialectic of Enlightenment (New York: Continuum, 1982), 120.

3 Theodor W. Adorno, Minima Moralia: Reflections on a Damaged Life, trans. Edmund Jephcott (London: Verso, 2005 [1951]), §153 (emphasis added).

4 Theodor W. Adorno, “Farewell to Jazz,” in Essays on Music (Berkeley: University of California Press, 2002), 496.

5 Erich Fromm and Michael Maccoby, Social Character in a Mexican Village (Englewood Cliffs, NJ: Prentice-Hall, 1970), 23-30.

6 M. Testa, Militant Anti-Fascism: 100 Years of Resistance (Oakland: AK Press, 2015), 53-84.

7 Adorno, Minima Moralia, §68.

8 Ibid §122.

9 Theodor W. Adorno, Negative Dialectics, trans. E. B. Ashton (Routledge: London, 1973 [1966]), 406.

10 Ibid 403-5 (emphasis added).

11 Adorno, Minima Moralia §100.

12 Theodor W. Adorno, Critical Models (New York: Columbia University Press, 1998), 289-93.

13 Adorno, Minima Moralia §153.

14 Ibid §65.