On Space (s)

 

 

Ronojoy Sircar

This screen is space. Moving in and out of this space, are these words as they are being written/read right here and now. These words form a direction. Not just a path, seeing that this is not a metaphor, but has begun to move beyond that. These words are signals; flares, shooting off into the night sky. This sky is space.

 

 

 

Bodies within space

 

 

 

Fig. 1. Klaus Rinke, Time-Space-Body and Action.

There are two bodies. There is a clock. The viewer, forever entering the picture, finds him/herself locked out – at standstill, like the clock, like the bodies, caught in motion, caught in space.

 

 

 

 

 

 

 

Fig. 2. Klaus Rinke, Vertical.

There is no space, without time. The man’s held hands, hold time by its spine. He is tensed, for time constitutes tension. Time splitting space in two, is tension. The breath, held back, speaks in time of silences, in time with silence.

 

 

 

 

 

 

Fig. 3. Geof Kern, Midtown Exit.

A camera on an arch, balanced between the sky and the ground, looks on, along with the traffic below, as a man – possibly a salesman – floats across the Manhattan skyline forming questions, along his way, in minds, still caught between the cityscape – is he happy though?  No faces were turned, but many were raised. Balloons, the color of the sky, in the colorlessness of this view, are transporting subversion of space into moments of suspension – of belief, and of laws.

 

 

 

 

 

Fig. 4. Geof Kern, Untitled (man leap-frogging over another man).

A man looks down, as another questions the importance of standing still, when standing still itself, is being within fingers distance from jumping over. These figures are rotating. This is but one frame, of reference. To catch a moment in space is after all, to capture it.

 

  

Bodies without space

 

 

Fig. 5. Helena Almeida, Voar (Fly).

Balanced to fall, flight itself unhinges towards falling, connected only by the desire to fly. Truth speaks, at the moment of contact, revealing the ill kept secret – there was no flight, there was always flight. Slanted towards the ground the body learnt to fly.

 

 

 

 

 

Screen Inhabited, 1976  Helena Almeida

 

 

Fig. 6. Helena Almeida, Screen Inhabited.

A blank slate and film stretched across its frames. There is no such thing as blank space. Moving towards the frames and ripping the illusion of space, in one steady movement captured in frames of collected moments, she walks away with her prize. The space refilling, appears the same, bridging the gap between longing and getting, and thus forever changed. This is a movement from within, to without.

 

 


 

 

 

Fig. 7. Francesca Woodman, Then at one point I did not need to translate the notes; they went directly to my hands.

The hands stretched out on the wall; create gaps, as the body attempts to submerge. Drowning is always an option.

 

 

 

 

 

 

Fig. 8. Francesca Woodman, Untitled.

Turning in circles, but losing sight of what’s spinning in reality – the body, or the space; differences ceasing to matter within the attempts to disappear – space becoming the body, the body moving towards becoming  space.

At the closing, the flares disappearing beyond the horizon of appearances – of contrasts – leave images lasting but a fraction as long as the flares themselves, thriving on the contrast created between light, and the darkness; the foreground, and its background; bodies, and space. The image fades, while these words continue to unfold (here in this moment) – recording space within memory. Memory is a space.

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Images:

Almeida, Helena. Screen Inhabited. 1976. Photograph. Private collection.

Voar. Perf. Helena Almeida. Galeria Helga Avelar, Madrid. 2001. Performance.

Kern, Geof. Midtown Exit. 1991. Photograph. Private collection.

_________ Untitled (man leap-frogging over another man). 1999. Photograph. Private collection.

Rinke, Klaus. Time-Space-Body and Action. 1972. Photograph. Gallery L’Attico, Rome

__________  Vertical. 1972. Photograph. Private collection.

Woodman, Francesca. Untitled. 1976. Photograph. Private collection.

__________________ Then at one point I did not need to translate the notes; they went directly to my hands. 1976. Photograph. San Francisco Museum of Modern Art, California.

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Ronojoy Sircar is in the MPhil programme in English at Jamia Milia Islamia, New Delhi.


 

Two Walls : Art & Land

“One Project. Two Sites.” Curator Josef Ng warned viewers at the start that Lin Yilin’s project, carried out in Chiang Mai and Bangkok, presents two utterly different sides of itself. And in the end, he was right.

In the Chiang Mai countryside, Lin Yilin highlights the utopian connotations of the “Land Project,” guiding his audience to “recollect” this historical fantasy rooted in Chinese cultural tradition which is radically democratizsed. The high, bare concrete wall built on the border of the Land’s paddy field stands tall like a monument. On the day of the event, some viewers stood rapt at its base or weighed themselves using the built-in scale, while others sat atop it, a few even holding fishing rods. An air of tranquility and simple joy reigned. Especially when viewed against the backdrop of its natural surroundings, the scene is almost entirely stripped of its “Land Project” (i.e. art-world) context, and the notion of “Land” is momentarily restored to its “man and nature” dimension–without an iota of sentimentalism. However, though full of imaginative appeal, these acts—surveying the view, fishing, weighing—transpire at the mercy of that high concrete wall; or more precisely, due to the existence of the wall, people’s aesthetic associations with the Land themselves begin to constitute a kind of landscape. Like the pivot point where the long wooden balance is riveted, the wall serves to tether which could have otherwise become romanticized modes of behavior to material foundations.

 

At Tang Contemporary back in Bangkok, there is yet another wall—similar in size to the Chiang Mai wall, though white and made of brick. On a striking diagonal, it cuts the room into two separate spaces. One space features two videos and a poster print; the poster and the video recording to its right are relics of Lin Yilin’s moments of artistic activism in response to his rented Beijing studio’s premature demolition, which occurred prior to the original date laid out in the government’s land acquisition contract. The other video records the “protagonist” returning to the scene of activism after several months, only to find the remains of the studio in mounds of dirt and ruin. Here, we can see the increasingly common process of land commodification in China with its host of conflicts and contradictions. The video recording on the other side of the wall, right by the gallery entrance (or exit) shows Lin Yilin on the sidewalk of the Champs-Elysées in Paris, handcuffing his right hand to his right foot. His body bent in half, he struggles to walk and manages however he can. None of the videos or posters in the exhibition are physically connected to the wall. As far as the gallery is concerned (from a commercial standpoint), the wall immediately catches the eye and divides the space in a way that serves only as a temporary, aesthetic ascription. The temporality that it embodies forms a kind of tacit agreement with the current system of land acquisition in China.

Lin Yilin uses two different walls to define land issues unique to two different spaces (Thailand and China). In the Chiang Mai installation and performance, he takes the greatest pains to build an aesthetic conception into an environment; whereas in Bangkok, he turns his energies towards elucidating some of the most sensitive issues China faces today. Nevertheless, in reality, the intertextual link between the two goes beyond a mere discussion of land ownership, and extends to a reflection upon the human condition. It therefore seems that these two questions printed on the Bangkok gallery brick wall—“Whose Land? Whose Art?”— are a revelation in line with Walter Benjamin’s thinking—a kind of struggle with fatalism and yet aspiring towards some undefined doom.

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[The report first appeared in the magazine Leap]

Death and the Automobile

Priyasha Mukhopadhyay    

The driving force behind every nation’s story of progress is a motor car

 

In his introduction to Paul Virilio’s Speed and Politics Benjamin Bratton writes of how a history of compensating for the vulnerability of the human body has led to universal prosthetisation of various kinds and to various degrees: from the military tank that in its ability to assault, destroys the concept of territorial boundaries, to the sports shoe. Transforming the possessors into “metabolic bodies,” these come together to supplement the human in the drive towards efficiency, excellence and logistical power.[i] This is a universe in which everything is a machine.

The ubiquity of the mechanical in everyday life has forced us to reexamine not only the nature and extent of our reliance on such objects, but also how technological encounters shape our understanding of contemporary subjectivity. Thinking through the relation between the human and the machine is not a new gesture; widespread industrialisation in Europe ensured that the machine was a tangible presence in most nineteenth and early twentieth century documents. Critical studies however, even history indeed, mostly limit themselves to the uncovering of technophobia[ii] – horror at the debilitating effects of long hours of work in factories, the gradual isolation of the human subject from the need for human contact, the fascist undertones of the production of something as loved as Volkswagen cars in Nazi Germany.[iii]

This article is an attempt, alternatively, to rethink technophilia in one of its most historically violent forms, Futurism. Taking as its focus the body of the machine, it will examine the manner in which manifestos written by its prime proponent, F.T. Marinetti, evolve an oppositional political and aesthetic mythology, one that is dependent not on the mere interactions between the human and the non-human, but on a complex set of processes by which the ideal human is, in its essence, not human at all. In writing the machine into (paradoxically) this futurist history, I am not critiquing or attempting to thwart the inevitable mechanisation of human existence, but trying to understand how such transformations and interactions can become coherent models of political and social action. I will thus make a preliminary attempt to trace how it becomes symbolic of the uncertain and scattered ways in which we “do” politics, and in turn, what politics does to us.

As Fast as You Can

Casually thrown before its readers is the following scene from Mario Morasso’s The New Weapon (1905):

“Here is something heroic; a man seated on a rigid seat, like a barbarian king, with his face covered by a hard visor, like a warrior, with his body leaning forward almost to provoke the race and to scrutinize – not just the course, but destiny. With his hand secure on the inclined steering wheel, with all his faculties in a state of vigilance, he seems truly the lord of a whirlwind, the tamer of a monster, the calm, absolute sovereign of a new force, he who stands straight in a vortex. “(qtd. in Poggi 10 )

The focus here is the driver of the racing car, the “man seated on a rigid seat.” Rather than being a symbol of middle-class affluence, the car is instead thrown into an imaginary space of multiple contexts: there is war that the driver-warrior is prepared for; his hand is “secure,” his body leaning forward, alert and ready for combat with skill and precision that ensure that he alone is “the tamer of a monster.” Language deceives us here; on a first reading, the monster and whirlwind seem to be self-evidently the car being driven. In such a scheme of things, the man quickly becomes emblematic of humanity’s conquest over the machine, able to control it with a firm grip of the steering wheel. What makes this passage extraordinary, and anticipatory of how Futurism was to revolutionise the man-machine relation, is the manner in which the act of control transforms the man into something other than himself, superhuman. Standing in the vortex of mechanical strength, he is not merely “the sovereign of a new force,” he is that new force.

Morasso’s novel was published five years before F.T. Marinetti’s “The Founding and Manifesto of Futurism” appeared in Le Figaro, bringing in its wake the call for the destruction of tradition, metallisation and the pure power of speed. These are not all incidental players in the configuration of the manifesto, but rather, seem to draw from a seemingly insignificant event in Marinetti’s life: his Fiat collided with a bicycle and skidded into a ditch.  He was left unscathed, but in the manifesto, this is replayed as the moment when Marinetti is “transformed” into a Futurist; nothing less than a miraculous moment of religious baptism:

I gulped down your bracing slime, which reminded me of the sacred black breast of my Sudanese nurse. . . . When I climbed out, a filthy and stinking rag, from underneath the capsized car, I felt my heart—deliciously—being slashed with the red-hot iron of joy! (50)

At one level, the accident reveals what Jeffrey Schnapp calls Futurism’s delight in “trauma-thrills,” modern forms of the sublime that derive from the excitement that lurching towards the limits of death and pulling back creates (4). The accident changes Marinetti; he will keep looking for opportunities to recreate this experience throughout his life and writing (a point I will return to later in this article). This transformation is undeniably psycho-somatic: the slashing of the red-hot iron through Marinetti’s heart is both literal and metaphorical, and in the process, solders the fragmented parts of his self together to make him the very object that is most likely to survive the encounter, a machine. This is addressed more clearly in a section of a later work, Le Futurism (1911), “The Multiplied Man and the Reign of the Machine”:

This inhuman and mechanical type, constructed for omnipresent velocity, will be naturally cruel, omniscient, and combative. He will be endowed with unexpected organs: organs adapted to the exigencies of an environment made of continuous shocks. Already now we can foresee an organ that will resemble a prow developing from the outward swelling of the sternum, which will be the more pronounced the better an aviator the man of the future becomes, much like the analogous development discernible in the best fliers among birds. (91)

The less than subtle overlap of the organic and the inorganic here is startling: Marinetti’s Multiplied Man is the product of a slow evolutionary process that affects both sensibility and body and mimics the natural process of species adaptation. “Constructed for omnipresent velocity,” these changes are wrought on steel, the “outward swelling of the sternum” makes him sound remarkably similar to the mechanical equivalent of a bird, an aeroplane.

Not just anyone can become a machine, however. One must show tendencies, proclivities. In a move that is strikingly similar to the evolutionary theories of Fascism to come, Marinetti and his cohort anticipate the Nazi search for the primitive Aryan man with their model of the multiplied man. Old people and women are unlikely candidates for transformation. For his ideal type, Marinetti turns to another nineteenth century discourse of the human –– the Marxist theory of labour alienation, and in doing so, inverts it. The most obvious candidate for this new type is the worker, whose long hours of work and dulled sensibility ensure that he has become related to the “the family of motors,” touched by the hand of “mechanical divination” (“Multiplied” 91). This is no longer alienation to be critiqued, but an alienation to be embraced, desired.

These characteristics that signal perfection coax Futurism into a love of the machine; its dependability (so much unlike the much-maligned women Marinetti never loses an opportunity to attack), its tenacity, its possession of a symmetry that the search for the ideal Aryan man in later in the century will never successful find. The automobile thus replaces the human body (though more specifically, the female body) as the worthy object of the Futurist’s affections:

Have you ever observed them [mechanics] washing the huge, powerful body of their locomotive? Theirs are the attentive, knowing endearments of a lover who is caressing a woman he adores. (“Contempt for Women” 90)

It is a fact that in the recent strike of French railroad workers, organizers of sabotage could hardly persuade even a single machinist to sabotage his locomotive. That strikes me as perfectly natural. How could one of these men ever have wounded or murdered his great girlfriend, faithful and devoted, with her quick and ardent soul, this beautiful steel machine that had so often glowed with sensuous pleasure beneath his lubricating caress? (“Contempt for Women” 90)

But what ultimately brings the alienated worker and the accident survivor together in Marinetti’s work and makes them multiplied men is a single conceptual category – death. Both remind us once again of the vulnerability of the human body, a fact that the proximity of the First World War must have constantly reminded Marinetti of. This is also a vulnerability that is naturally lost when humanness is shed, so as to speak, whether through organic death, or by moving onto another plane of existence altogether, the mechanical. While Hal Foster, for one, evocatively argues that the treatment of the body as machine seems to suggest that “the only way for the body to survive in the military-industrial epoch of capitalism was for it to be already dead, in fact, deader than dead” (7), it would do well to remember that the Futurist’s death never carries these overtones of poignant pessimism. It is the ecstasy associated with death and the prospect of it that becomes the starting point of a very new kind of politics.

Let us return to the sections of the Futurist manifesto before Marinetti’s accident. Even before the crash, death is a state that Marinetti constantly, though uncertainly swings towards. Stretched out on his car “like a corpse in its coffin” he is “revived at once under the steering wheel” of his car: what does not strike the reader immediately is the description of the steering wheel that follows. It is “a guillotine blade that menaced [his] stomach” (“Founding” 49) – the blade that at once holds the power to kill and save. This is existence on the threshold, and it is from such experiences that the Futurist draws his power. Stuck in what Jeffrey Schnapp calls the “addiction loop,” Marinetti remains, “threatened, on the one hand, by monotony” and on the other, “by the need for ever new stimuli in order to maintain the same level of intensity” (4).

While the accident cannot be replayed, the conditions and factors that bring it about can be, and it is within the frame of this logic that Marinetti finds an alternative god to worship, speed. The subject of the death-drive thus collides with the kinematic subject[iv], constant motion prevents stasis (stasis entails death, and not of the desired kind), and it is from the give and take of life, war and moving at high speeds, that the possibility of a new political subject arises for Marinetti. Take for example, that strange piece of writing, “Let’s Murder the Moonlight!” Written shortly after “The Founding and Manifesto of Futurism” and often read as a rearticulation and defence of its primary arguments, it takes the form of allegory (not unlike Pilgrim’s Progress), tracking the journey of four futurists to Hindustan, where they will reach the summit of the world and build a military railroad, in a bid to rid men of the “peacocks’ tails…and perfumed handkerchiefs” (“Murder” 56) that they keep hidden in their hearts. Like a pilgrimage, this is read as a transformative journey, with the men anticipating that “soon [they’ll] reenter [their] mother[s’] womb[s]” (56) and reemerge, multiplied.[v] The city they start from is called Paralysis; this is where the old are “dying too slowly” (54):

As I turned my back, I could sense from the pain in my spine that for too long, in the great black net of my speech, I’d been dragging along that moribund populace, like a heap of fish that are flapping ridiculously beneath the last flood of light thrown by the evening against the cliffs of my forehead. (55)

This is what Marinetti will later call “sin[ning] against speed” (“New Religion”225) the refusal to move, change and remain thus in a stultifying existence. Adopting the language of moral ethics, it is no longer Christianity that will hold reign, but velocity:

Christian morality protected man’s physiological structure against the excesses of sensuality. It blunted and counterbalanced his instincts. Futurist morality will protect man against the inevitable decay produced by slowness, memory, analysis, rest, and habit. Human energy, multiplied a hundredfold by velocity, will dominate Space and Time. (“The New Religion: The Morality of Speed” 224)

Speeding ahead, Marinetti quips “time and space died yesterday” (“Founding” 51). In that death, lies the rebirth of the Futurist subject, existing not merely outside the human limits of time and space, but constantly challenging them to catch up to him, and then running ahead.

Marinetti is a difficult man to write a conclusion for. What needs to be remembered is that Futurism is not anarchy, though it may at times seem to be. Driven by the desire to constant feel alive, awake, it is in this manner that Marinetti hoped to bring the Italian nation together anew. But, ironically, to be most alive, is to be almost dead.

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 Works Cited

Bratton, Benjamin. Introduction. Virilio 7 – 25. Print.

Foster, Hal. “Prosthetic Gods.” Modernism/Modernity 4.2 (1997): 5-38. Web. Project Muse. 25 Aug 2012.

Ketabgian, Tamara S. The Lives of Machines: The Industrial Imaginary in Victorian Literature and Culture. Ann Arbor: Michigan UP, 2011. Print.

Marinetti, F.J. “Let’s Murder the Moonlight!” 1909. Rainey et al ed. 54 – 61.

—. “The Founding and Manifesto of Futurism”. 1909. Rainey et al ed. 49 – 54.

—. “The New Religion: The Morality of Speed”. 1916. Rainey et al ed. 224 – 29.

—. “The Multiplied Man and the Reign of the Machine”. Rainey et al. ed.  89 – 93.

—. “Contempt for Women”. Rainey et al ed. 86 – 89.

Poggi, Christine. Inventing Futurism: The Art and Politics of Artificial Optimism. Princeton: Princeton UP, 2008. Print.

Rainey, Lawrence, Christine Poggi, Laura Wittman, eds. Futurism: An Anthology. New Haven: Yale UP, 2009. Print.

Schnapp, Jeffrey T. “Crash (Speed as Engine of Individuation).”Modernism/Modernity 6.1 (1999): 1-49. Web. Project Muse. 1 Sep 2012.

Virilio, Paul. Speed and Politics. 1977. Trans. Mark Polizzotti and Introduction by Benjamin Bratton. Los Angeles: Semiotexte, 2006. Print.


[i]  See Bratton 7 – 25.

[ii]  This, is the general apocalyptic overtone to Paul Virilio’s Speed and Politics. An example of a recent study that is exceptional in this regard is Tamara Ketabgian’s The Lives of Machines: The Industrial Imaginary in Victorian Literature and Culture.

[iii] Hitler was key to the nationalisation of Volkswagen factories in Nazi Germany, and the production and development of “the people’s car,” capable of carrying a family at the speed of 100 kilometres/hour was central in establishing the government’s concern for the common man. Virilio does, however, read this as initiating a shift from the road to the highway, from a space of protest to one dominated by regularity and surveillance. This for him was the “political aim” of the Volkswagen (49).

[iv]  The term “kinematic subject” is Schnapp’s. See Schnapp 14.

[v] I do not examine the gendered aspect of Marinetti’s machines: for a comprehensive discussion of this see Poggi (esp. Chapter 5) and Foster.

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Priyasha Mukhopadhyay   will be reading for the DPhil in English at Wolfson College, Oxford; Her  academic interests are in late nineteenth and early twentieth literature, colonialism and the history of science and technology.

Justice in a Landscape of Trees

Rajarshi Dasgupta

Homeward Bound
How does a call for justice appear? When is such a call thought justified? Standing at the crossroads of 1947, as colonial rule came to end in south Asia, the Indian Left had coined a slogan: yeh azaadi jhoota hai, this freedom is lie. But the reasons did not seem very clear to them. Sixty years after, writing in support of a nuclear treaty with the US opposed by the Left, the editor of an English daily recalls how the nation was let down at the very moment of independence. Why, we may even like to think of it as a crime, throwing our hard-earned nationhood into question, is that what you call justice? The point is that such moves are always difficult to justify as they pass through the nation state towards a wider field of ethics, coming to it in response to the violence and injustice that underlie our nations. Thanks to a rich body of scholarship on the partition and refugees, today we have come to recognize the enormous carnivorous sacrifice that made India, Pakistan, Bangladesh, possible.But perhaps we have never really understood how displacement has made the very ground of the citizen subject unstable and shifting in south Asia, turning freedom into a violent force of individuation and justice already into an object of loss.

It is here that an exercise of moral freedom runs into conflict with juridical propriety, where the everyday subject of experience is unplugged from the abstract citizen. In order to grasp this uncommon thread of moral freedom, we must listen to the narratives of displaced without the rush to formulate them into a rights discourse, which cannot afford to pay that singular attention required of justice in this case. My paper contends that there is a terrain of justice and moral freedom, pressing for critical recognition in the ideas of home in refugee discourses, which cannot be assembled in a talk of pure logic, but enjoys the felicity of a poetic narration. We can observe here certain forms of subjectivation of the displaced, where one need not construct the reality as it is framed in law, but as it ought to be, framed ethically, overriding the law. We shall see how this implies an escape from present – a flight into the past, as well as, a return to the responsibility of future. In this way, such exercise comes to involve a back and forth movement of thought, holding the current state of affairs against an imagined horizon of infinity, in order to judge the truth, as it were, in other times and places. The texts selected here chiefly illustrate the making of this different awareness of time and place, where moral freedom does not mean ensuring entitlements, but the performance of certain critical modes of subjectivity. In a way, this stages a trial of the modern subject on the margins of the global capital that is producing new ways of thinking about oneself today.

Perhaps, it is impossible to keep in mind the historical contingencies of our freedom and respond to the query of why that freedom was untrue or inauthentic to some of us. As recent debates in political theory indicate, there is a danger in underestimating the reality of nation state in south Asia, divided on religious grounds, bordering unfriendly governments, territorially binding on people, rent apart with a seal of finality. Yet, there are overlapping surplus of disturbing memories, as there is a daily traffic across the borders of commerce and human relations, and adamant claims to belong elsewhere rather than the permissible place, which practically spells a gnawing disquiet for the region’s law and order. The displacement needed to carve up the nations and citizen subjects seems to have produced a call for justice at the very heart of the question – where should one belong, regardless of our lawful habitations, as a free subject. The examples we will look into here deal with this very theme of belongingness: how the subject of displacement needs to belong and wants to recreate a home, despite its impossibility in the strict sense of the fact. I hope the analysis will give us a clear idea of an impossible homeward bound-ness, performed through narratives that carry the sense of justice in a way that cannot be legally enforced but invested obliquely, ethically and aesthetically, although not without a sense of irony.

Here we may see the ideas of home in the shifting invocations of a territory – an ancestral village very often, sometimes a keenly contested terrain of politics and history, as well as, where I will focus, at times, an elemental, enigmatic site of nature. Rather than a culturally particular location, we need to think of morphologies here, in keeping with what geographers treat as a conceptual space, we may call these invocations a theoretical landscape. Of course, there would be proper names to such places in some discourse, for a historian like Dipesh Chakrabarty, talking about this particular revisited village, or a poet like Jibanananda Das, meditating on the flora of that specific district in undivided Bengal. But we are not exactly interested in the physical-geographical locus of stated individuals in this paper. Instead, we think that despite the names of such places in memory one cannot be restricted to a solitary archive only, which holds the census and administrative data about a place. There is a sense here of other kinds of archives that record and relate differently to the sense impressions and ways of representation in the testimonies we are about to judge. The paper suggests that in keeping the interpretive possibility of such landscapes open to universal implication, we take up a difficult and challenging labour of reading. And that is the only way to understand the political aspect of what leading scholars are happy to knock down as aesthetic parley rather than engaging reality. There is no doubt that the morphology of landscapes often involve a glossing over the questions of property and class, which makes the labour invested in land invisible to the scenic representations of nature. Landscape is, after all, as Henri Lefebvre and Denis Cosgrove have pointed out, along with David Harvey, a commodity, as well as an ideology referencing material form. But let me insist that there is a void that cannot be subsumed entirely by the analytic of property, and there is an economy of restraint and excess that relate to the ideas of home and justice especially for the refugees. This is what we shall chiefly discuss here. Let me admit, however, that there is a complex dimension of collective memory and forgetting involved here whose implications are beyond our immediate scope.
In particular, this paper will draw your attention to three key aspects of a theoretical landscape. First, although entirely textual, one of the most striking features in this case is the quality of a heightened sensuality, a bit like sex, intensely tactile, optic, aural, but also with a feeling of watching a tableau passing us by like a float on republic day parades. This could be a refraction of how it looks everyday with the regular stuff that we find masquerading as hyperbolic or elemental inside a text, like a robust sensory encounter but wholly predicated on words. Such words conjure the picturesque – an intense and vivid scenery, shot with desire and warmly imprinted in the body as an archive, which gives out anew the signs of aroma and noise, old and new shapes, sending the warmth of information to our fingertips. In other words, as the examples will make it clear, theoretical landscapes carry out a practical demonstration of the archival experience of a body. It is at once a solitary body that is hypothetically free from the marks of gender, race and nationality, actually plastered on it, and a body that must make sense of the other bodies surrounding it in society without prejudice. The perception of this form of embodiment follows from standing before a breathing geography, inviting anyone that approaches a place with a home in mind, ready for endless anecdotes at every recess.

The second key aspect is that such theoretical landscapes are often digressive and chiefly anecdotal in character, working in some sense against the grain of received historicity. On the one hand, they involve telling us stories as a basic mode of experience, giving rise to unseen community of listeners, who are invited to share the ethos of a place without occupying the same place or even the same language. On the other hand, the gesture of narration brings into play all possible and traditional structures of narrating available to a certain performative context. These narratives may turn out from scientific to fabulous with as little pause as they take in turning from a terse moral deposition to that of telling a politically incorrect joke on the side, even saying completely outlandish things. They include anything that is not attached to a direct claim of historical truth as a necessary condition, for engagement. There seems to be a very different principle of believing in these stories precisely because they stand for what they cannot represent – the incalculable questions before justice: what is living; is life infinite; what is truth. Aware of these philosophical limits of representation, theoretical landscapes pull out from games of truth and enter un-dogmatic games of narration. This does not imply that truth becomes anything hereafter. On the contrary, it means that truth is not everything, like facts, nor a definite property ofeverything, like value, but perhaps more like a middle ground, which holds up us with our ideas but also outlives our intelligence, like a forest of symbols.

The third vital aspect I would like to highlight here is the evocative symbolism of theoretical landscapes, particularly the use of a natural-metaphorical figure like that of trees in the cases below.[1] However strange it seems as an object of knowledge to a social scientist thinking of justice, let us recall there are classics of anthropology entirely devoted to the symbolism of trees, which cover an astonishing range of ground from the Ndembu tribe’s rituals in Africa to Judaic and Christian theology of the middle ages, from the importance of woodlands in Victorian Britain as property and sign of improvement, to the tree as a pictographic metaphor of natural liberty in Thomas Paine’s The Rights of Man, which spilled into newspaper cartoons of the nineteenth century. Indeed, the political and economic significance of trees in Europe like that of oak and willow should hardly need elaboration, providing the basic inputs for trade across oceans with strong wooden ships and accurate compass, with the evangelist cross and later, cricket bats. But the tree has enjoyed no less felicity of investment in the narrative and symbolic repertoires of south Asia, which would be pointless to catalogue here in-depth. The case of Nammalvar, the ancient Tamil poet, is an appropriate example. “According to historians, Nammalvar was born into a peasant caste (vellala) and lived from approximately AD 880 to 930. Some would date him a century earlier. Although the facts are hazy, the legends are vivid and worth retelling. According to these latter, he lived for only 35 years. He was born in Tirukurukur (in Tamil Nadu), into a princely family in answer to their penance and prayers. When he was born, the overjoyed mother gave him her breast but the child would have nothing of it. He uttered no sound, sat if seated, lay if laid down, seemed both deaf and mute. The distressed parents left the child at the feet of a local Vishnu idol. Once there, he got to his feet, walked to a great tamarind tree, entered a hollow in it and sat like a yogi in a lotus posture, with his eyes shut and turned inward.” It is from here that he would later pour forth more than one thousand hymns to Vishnu, which became the famous Tiruvaymoli, hailed as “the ocean of Tamil Veda in which the Upanishads of the thousand branches flow together.”[2] There are many similar examples where the arboreal metaphor of tree combines with traditional modes of knowledge on the one hand and where it offers an imaginative clue for interpreting nature and language in modern imagination on the other hand. But the crucial question for us is the uncertainty of its status in a discourse on history, politics and justice. I would like to point out in this regard that, in between the famous Bo tree of Buddha and the cosmic tree of knowledge in Indian mythologies, we must not forget the charged subtext of the metaphorical poison-tree of Bankimchandra Chattopadhyay, which was recast by the poet Samar Sen to represent the roots of middle class radicalism mired in colonial education. As we know, the metaphor of poison-tree was employed once more by Partha Chatterjee to talk about the problem of historical difference in the modes of nationalisms in the south. But then what has the metaphorical use of a tree got to do with substantive issues of politics and, in this case, the question of representing justice? I would like to address that question here, together with another question raised by a recent insightful work on the Pakistani middle class – who says that nationalism was all about producing the citizen subject? This paper tries to offer another category – of home, to reopen the horizon of displacement before the realm of citizen subject. As the examples will bear out, there are three different notions of home that will emerge below, which are convenient to plot in grammatical terms. Briefly, they are as follows: first, the ablative, from where one hails but cannot return; second, the locative, where one finds oneself in the middle of a journey; and third, the accusative, where one would like to arrive in the end.[3] The invocations of landscape in the examples below not only instantiate these different notions of home, but also show how we travel towards them, circulating between the registers of a community locus and individual passage, in ways that confound our usual understanding of citizenship.

The Vanishing Trees

There is an intriguing anecdote about a tamarind tree in the ancestral village of the historian Tapan Roychowdhury. The incident took place around the time when Fajlul Haque was leading the Krishak Proja Party which headed the first provincial government with the Muslim League after the Congress had refused alliance. The Raychowdhurys were the jamidar of mouja Kirtipasha, close to the elite and nobility of Bengal. Two of the author’s uncles, principally talented in spinning tall tales, were living in London, from where they sent the telegram: “Stop felling tamarind tree. Letter follows.” The entire village was taken aback. The resolve to fell the tree was made only a few days back – the first chop had barely landed. How did the boys divine this information? The market was agog, mulling over the riddle. The people eagerly gathered at the chandimandop; when the letter arrived and read aloud. It said the brothers had retired to their respective lodgings in Gower Street at late night, when they had the same dream about the same fellow at roughly the same time. The subject of their dream was an old friend, Chhontu Pal, a good for nothing fellow who died a week back. Again, the brothers did not know this – Chhontu had told them he has taken up residence in the tamarind tree. However absurd, it obliquely echoed with receiving divine instruction in dreams – swapnadesh, and the folklore that the aristocracy in phantom society, chiefly, the departed brahmans can become attached to certain trees they frequent in this life. Although Chhontu was an addict and no brahman, the tree was spared. Slowly, it became a holy shrine worshipped in the entire district. “Blessed be the country”, Roychowdhury quips, “which has such a tree.” [4]

The first line of the novel Khoabnama by Akhtarujjaman Ilias says: “Oi jaigata bhalo kore kheyal kora dorkar” (It is necessary to take good note of that place). This line is the key to the entire novel – space is the central problematic of the story.[5] The task of the novel is to flesh out the life-world and the history of an erased location, to produce a different idea of people and geography that pushes against the impersonal narrative of nation and the abstract locality in our conception. The writing thus resembles archaeology – new layouts emerge like anthills under anonymous, sedimented surface of events. Written in 1996, Khoabnama unfolds a space that also belongs to dreams – certainly for the father of Tomij. The old man walks in his sleep on the banks of Katlahar bil, to the north of which stands an old Pakur tree. The old man hopes to catch a glimpse of Munshi Barkatullah, follower of Majnu Shah, the leader of sanyasi-fakir rebellion of the eighteenth century, who is believed to possess the tree. Because he is insane, the father of Tomij has a delirious sense of time; his past and present collapse. He makes it a sacred duty to guard the Pakur tree, the birikkho, which is in danger of losing its place that dwindles with every flood and new habitation. Ilias expressed similar concerns in another equally famous novel, Chilekothar Sepai, written in 1986. There we hear about the ancestral land of Boiragir Vitey and the two hundred year old banyan tree spreading over more than three bighas of land – creating a maze at the centre of which is a hollowed trunk, where Majnu Shah used to counsel with Bhavani Pathok, a rebel leader figuring in Bankim Chandra Chattopadhyay’s novel Anandamath. But unlike the printed text of Anandamath, which erased the Muslim fakirs from the account, and rewrote the unrest as against the Muslims, Akhtarujjaman’s stories are oral and vie for other kinds of evidence. The banyan tree and the Pakur tree are resources of such evidence – they are seen as local murubbi – the wise counsellors of an enchanted place. Yet, when the father of Tomij finds the Pakur tree gone one day, the village headman doubts if it was ever there.

The characters of the autobiographical novel Bishadbriksha initially refuse to be part of the refugee exodusof 1947. The account takes it as a time whose damage is still distant in coming to the periphery. The author, Mihir Sengupta, talks of a location where the displacement is prolonged over the next decade. He describes the everyday life of a Hindu family in the quiet backwaters of East Pakistan, as if the partition had not taken place, not where they lived anyway. This idea of ‘where they lived’, where the author continues to live in his thoughts, and which does not leave him insofar he must have a sense of his roots, even if he now lives in West Bengal, is a chronic motif. Mihir repeatedly refers to this place, a local landscape, a sleepy hamlet in the district of Barishal, with two recurrent features: the pichharar khal or the flowing canal running at the back of their ancestral home; and the two raintrees, that gave the novel its name – bishadbriksha. Both of these give a centre of gravity to the landscape, with a cluster of Muslim peasants and low caste Hindus, stringed around the Hindu upper-caste household, to which the author belongs. The novel painstakingly remembers the steady decline of this family: the moral degeneration of patriarchs; the collapse of emotional ties; the waning of merry rituals; the auction of extravagant furniture, the flight of women, and finally, the poverty which forced the author to a life of manual labour. But this remembrance is underlined with an interesting affect. The author’s emotion in relation to this unfolding tale of loss is decisively that of becoming a free man – free from the fake aristocracy of worthless fathers, from the dubious respectability of feudal vestige, and free from the pretension of coexistence in a divided society. Now alienated, the writer finds serendipity; he encounters marginal people, especially women, and chance relations teach him new values, creating a different worth of the self. This liberated self likes to recall the funny episodes, the comedy of the bhadralok, the incredible tales and family follies, and the vulgar argot of everyday life. These reveal a complex practice with history, which I leave behind, to fasten your attention to an aspect of the author’s agency. As a subject of partition, Mihir Sengupta abandons the impulse to blame, both the alien regime and the communal hatred intrinsic to this or that denomination. If anything, he takes upon himself the responsibility, for the transition from a community life, with memorable moments, love and pleasure, to other emergent configurations. As we know, Mihir Sengupta migrated to West Bengal, and is now settled in a suburb of Calcutta, after his retirement. But there is a deeper sense in which the rain-trees keep shadowing him.  Although it is impossible to retrieve the life whose destruction he patiently recounts, he keeps mourning the absent matribhumi, through its catalogue of sky, river, vegetation and soil, which gather in the tree, waiting for a melancholic meditation, naming the novel, Bishadbriksha.

We need not see these instances as revealing a fundamental opposition between collective life and individualistic existence, as one is often led to believe. It is of course tempting to distinguish these modes of thinking in terms of an underlying antagonism between sociologically discrete subject positions, like the tension between an apparently traditional peasant mindset and that of a modern urban person. In terms familiar to political theory, such difference might be translated into an opposition between a community and an individual as the competitive locus of thinking about rights. However, what I would like to underscore here in the following examples is the complicated enmeshing of community and individual in the experience of displacement and aspiration for belonging. Let me introduce you to those troubling instances where it is increasingly difficult to sustain any singular subject position, or any pure mode of understanding in self-articulation. As we shall see, the invocations of a theoretical landscape in these cases dwell deliberately in a language that participates in idioms outside the rational self, dovetailing existential elocution with a framing that is mystical and bordering on insanity. This is where the aesthetic dimension takes on added valency, for it carries the duty to insert moral parameters into the dominant mode of reasoning, in short, the task of creating a new consciousness that imagines outside the present and beyond the foreseeable future. That is to say, a consciousness in touch with a horizon ever receding, undoing the sovereign weight of utility with a question undoubtedly more fundamental – what is that principle of relationship one seeks to establish in belonging.

Aesthetics of Infinity 

The excerpts below are taken from an autobiographical fragment, about the life and times of the intellectual Ahmad Chaffa in the late twentieth century Dhaka. A different landscape surfaces here, cramped with urban housing, small, rented flats coming up in purana Dhaka, snatches of academic life in the Curzon Hall and Jagannath Hall andthe staff quarters of Dhaka University, and newspaper offices bristling on the Tipu Sultan Road. Trees are everywhere, a mystic obsession with Chaffa.

An idea has been taking shape in my mind since many days. Allahtayla has activated a part of his secret power in the life of the trees. This is why some day humans have to approach the tree for shelter. If man does not bow down to trees, his very life-force conspires against his life. Imagine how intelligent Allah is. The simple life that flows through trees has a definite resonance with the heartbeat of man … A man can create a relationship with trees the way a man creates a relationship with a woman. But what kind of man? The one who believes with his heart and soul that trees also have a living persona, like any other animal … a house where I was tenant previously had an open courtyard. The owner had planted a guava and lemon tree there. A spray of madhobilota was happily growing on the iron-gate. When I came to this house, I thought I should leave a sign of my living here by planting one or two trees. I usually plant a tree or two where I go. There is no noble design behind this. The innocent desire to live in the memories of men drives me to do this time and again.[6]

This was then in some ways a methodical madness, which sustained parallel worlds for internally displaced postcolonial intellectuals like Ahmed Chaffa. As a counter-part to his urban existence as a man of letters and radical persuasion, here was an entirely different world he would happily be sharing with the children, with a parrot he carried, when he wandered like a fakir on the streets of Dhaka, walking through its avenues blooming with flowers that delighted him and trees he loved talking to. But he was also afraid of turning mad like Sarodababu, a Hindu schoolteacher in Chattogram.

Sarodababu used to go mad for a period every year. His madness would begin with the advance of winter. … In the beginning when the signs of madness surfaced, Sarodababu used to tell me that he understood the language of trees. But the problem is that the language of trees and the language of human beings are not the same. When he converses with trees in their language, he still remembers the language of humans. That is when things start becoming confused, that is, he is forced to become insane … He used to often tell me he would teach me the technique of talking to trees. Trees do not respond to everyone’s call; not everybody will understand their language. The power to understand this language does not come without a particular kind of purity of mind. Sarodababu used to think I have the capacity to talk to trees, though it did not mature.[7]

The question for us is this – how do we think of these relationships when we think of the abstract figure of citizen subject in a language of secular liberalism, civil society and democratic institutions. I hope it is sufficiently clear by now that the question of relationship is absolutely central to the affect of belonging and longing for a home of the displaced. Whether or not one is mourning the ablative home from a locative perspective, one is always looking at an accusative moral horizon, across the future. But in the process one also loses the language and sensibility that is needed to interpret these relationships as the principal ground for conducting life in a way that embodies justice. It demands a manner of reasoning that must seek its passage again through the embodied experience of the world, not for housing and emplacing a population, but for a home for the uprooted traveller, a place premised on relationships. Let me conclude this with a passage written by the painter Paritosh Sen, reminiscing about his ancestral land in Bangladesh.

Our village in Bangladesh was dotted with numerous ponds, lakes and canals. The rivers were not far either. During the monsoon, each home became an island. We had to row our little dinghy to visit our neighbours and to buy provisions from the market-place …

Whenever my mind travels back to my boyhood days in the village, an abstract picture painted somewhat in the manner of Mark Rothko, appears before my eyes. Slabs of all possible shades and tints of green, ranging from the silken blackish-green of the neem leaves as the morning light filters through them thus, making them gleam like the green crystals of a chandelier. Or, fading into the turquoise green of the floating water hyacinths in the evening. It felt as if the whole village had just had a dip in a pool of green light. Indeed, at times the sun itself appeared green.

On the north-eastern bank of the large pond situated at the far end of our home, where we did all our bathing and washing, stood a giant Arjuna tree (Terminalia Arjuna), rising nearly one hundred feet and dominating the entire landscape. It was so huge, so dense, that it seemed like a small forest. Its thousand branches spread like outstretched arms in all directions. Its majestic height dwarfed every other tree in the village. Its powerful build, magnificent proportions and statuesque three-dimensionality were reminiscent of the monolithic ninth century Jaina figure at Saravanabelagola in Mysore.

Did anybody in our village have any idea of the age of this Arjuna tree? … It had such an air of eternity about it and it seemed to proclaim, “I was, I am, and I shall ever be.” The Arjuna tree was a world in itself, as living and eventful as the human world, if not more so. It gave shelter to countless birds, reptiles and insects of every description. They seemed to be so happy living there that they would not exchange it for any other place in the world.[8]

It is in this sense of home that freedom was betrayed in 1947.

What is that mode of thinking that the figure of the tree presents to us? Let me clarify that the distinction I have tried to point out should not be confused with the standard oppositions between individual and community, between peasants and urban middle class, or between pre-modern and modern sensibility. I believe we are looking very much at a modern phenomena, arising out of the postcolonial experience of displacement, which produces a form of subjectivation fundamentally concerned with a critique of the subject of bourgeois liberal humanism. How does the tree constitute thinking against the grain of such a subject? I would like you to imagine for a moment we have attained the ‘purity of mind’ Chaffa talks about. Let us pretend to experience like him that trees are like animals with living persona, talking to each other in a language we understand well; while we observe another set of creatures, making frantic sound and gestures we vaguely recognize as human beings. This coming closer to the tree is about taking lessons in different techniques, of surviving, watching, witnessing, knowing the soil, branching and spreading out, being in touch with the simple life inside, like the heartbeat. I think we may recognize this in terms of a completely new orientation to life and politics, where one learns to think of oneself as part of an entirely new kind of complex that is manifold and one patiently works everyday like an ethos to realize that freedom is an ethical practice of living with the other. What kind of man is that? To recall Chaffa, one who can create a relation with a tree like one creates a relationship with a woman, of that kind where power must give way to love.

——————-

[1] Introduction to Hymns for the Drowning: Poems for Vishnu by Nammalvar, translated from Tamil by AK Ramanujan, New Delhi 1993.

[2] I am grateful for this theoretical scheme of home to the philosopher Arindam Chakrabarty.

[3] Tapan Raychoudhury, Romanthan Athoba Bhimratiprapter Parochorit Charcha, in Desh, Sharodiya, 1992 (1993) See the section on ghosts, especially, pp. 50-1.

[4] See in this connection Denis Cosgrove and Stephen Daniels (eds.) The Iconography of Landscape: Essays on the symbolic representation, design and use of past environments, Cambridge1998.

[5] I am indebted to Sibaji Bandyopadhyay’s reading of Ilias in Bangla Uponyase Ora’, Calcutta: 1996. See especially Khoaber Ratdin.

[6] Ahmad Chhafa, Pushpo, Briksha ebang Bihango Puran, Dhaka, 2002, p. 15. This was taking place around “the beginning of August in 1980. I was sure after paying a visit to the office of the newspaper Ganakantha in Tipu Sultan Road that it was going to die. So much of effort and labour is going to waste. I begged with so many people, asked for money from so many … what is happening is what is bound to happen. Tomorrow the representative of the toiling masses will be committing a suicide. Like the gooey mud left behind after the flood, all the mud-slinging, disbelief and doubts have started coming to the surface after the initial rush of revolution.” p. 19, ibid.  After this Chaffa started cultivating aubergines in the campus of the Dhaka University hostel, teaming up with children, tilling and tending vegetable gardens, discovering an experienced cultivator in Maulvi Abdul Quddus, a lecturer in the mathematics department, and making fun of the tie-clad Dr Khairul Millat, who on seeing Chhafa tilling land, would lecture him on wage, labour, and profit.

[7] Ahmad Chhafa, Pushpo, Briksha, pp. 53-5

[8] Paritosh Sen, A tree in my village, National Institute of Design, Ahmedabad, 1996

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Rajarshi Dasgupta teaches at Centre for Political Studies, JNU.

Abstract, Abstraction

Swapan Chakravorty

The primary problem with the adjective ‘abstract’ stems from its etymology. It derives from the Latin ab, meaning ‘from’, and trahere, ‘drawn away’. In other words, it carries a sense of being withdrawn, separated, extracted. When Locke spoke of ‘abstract general ideas’, he meant a process of detaching, or abstracting properties from something until one arrived at its concept. A more recent philosopher such as Frege would think of abstraction partly in Lockean terms: when characteristics are withdrawn, one arrives at ‘abstract concepts’:

Suppose there are a black and a white cat sitting side by side before us.
We stop attending to their colour, and they become colourless…We stop
attending to position; they cease to have place, but still remain different.
In this way, perhaps, we obtain from each of them a general concept of
Cat. By continuous application of this procedure, we obtain a more and
more bloodless phantom. (1)

The phrase ‘bloodless phantom’ suggests a diminution of life, a loss of that sanguine vigour which supposedly characterizes art. It is in this way, for instance, that one uses the phrase ‘abstract thinking’ as one that is at odds with the aesthetic way of perception. Yet, extracting properties from an object may also be interpreted as leading toward an object that stands on its own, which is conferred being without the need for extraneous significance, likeness or expression. That is, ‘abstract art’ may be seen as non-figurative, ‘not a depiction, not having a significance outside itself.’(2)

Andrew Harrison has drawn attention to the second sense in which one might use the word ‘abstract’ when discussing art. While the first idea of pure abstraction eliminates process and becoming, the second interprets abstraction as leading from one point to another: ‘this second concept has essentially to do with process, normally that marks a stage within, towards the end of, a mental, or interpretative, process.’ Abstraction in the latter sense is ‘bound up with the idea of meaning and with the matter of making meaning.’ (3)

The usual sense in which the word ‘abstract’ is made to qualify art is seldom Lockean. Rather, it is most often used simply to mean non-representational, that ‘which is not a picture of anything at all’. (4). However, if we stick to the Lockean roots, the abstraction is not wholly separable from the object of which it is an abstract. This is the reason some painters object to the term as ambiguous, if not useless. The painter Paul Ziff writes:

An abstract is a summary, an abstracted person is one which is withdrawn or separated, while an abstracted watch is one that has been purloined. An abstract of a document is supposed to convey the substance, the gist, of the document; in consequence, an abstract is not wholly independent of that which it is an abstract of: the character of the abstract is dependent on and determined by that of its original. But if I abstract myself from company, I turn from this company: it need no longer enter the purlieus of my concern.

Ziff points to the Janus-like quality of the adjective when applied to art: it leads one to and away from something. In some ways, this is similar to (though not the same thing as) the ambivalence discussed by Harrison: abstraction as being, and abstraction as becoming.

I am an abstract artist…Yet my works are not abstracted from anything; they are not derived from anything; they stand in no relation to anything that I have turned away from. The term is wrong, or if not wrong, it will not do…I find it implausible to suppose that an Alber’s ‘Square’ is abstracted from, or derived from, or related in any significant way to anything other than the work itself and its own creation. (5)

Yet, this for major artists could be more ‘concrete’ or ‘real’ than depiction. The word ‘abstract’ applied to his art would irritate Constantin Brancusi. He considered his art ‘real’, for the real is not his likeness but in the idea: ce qui est réel n’est pas l’apparence mais l’idée, l’essence des choses. Brancusi was in some ways a Platonist, and influenced by the ideas of the Rumanian Orthodox Church and Tibetan Buddhism. (6) However, the co-incidence of the ‘real’ or ‘concrete’ with art that strikes one as non-representational (or ‘abstract’) needs no recourse to the ideal forms of Plato or the enlightenment of Brancusi’s other major source of inspiration, the eleventh-century Buddhist
poet Milarepa. In 1930, Van Doesburg suggested the word ‘concrete’ for art that abjured
figuration, and Hans Arp and Wassily Kandinsky backed the term later in the decade. (7)
To ‘abstract’ may be seen to be a move from figuration to ‘pure’ object. Hence, Hilla Rebay’s misleading term ‘nonobjectivism’ caused some confusion in Europe and America in the 1930s.(8)

The best instance of the focal co-incidence of the abstract and the concrete are the sparse writings of
Piet Mondrian on his own work.9 In 1942, Mondrian wrote of his discovery that science has shown that ‘time and subjective vision veil the true reality’ (p. 15), and that the visual arts may redeem that truth through ‘pure plastics’ (p. 10). The previous year, he had written in essay ‘Abstract Art’:

In the course of centuries, the culture of plastic art has taught us that this transformation is actually the beginning of the abstraction of natural vision, which in modern times manifests itself as Abstract art. Although Abstract art has developed through the abstraction of the natural aspect, nevertheless in its present evolution is more concrete because it makes use of pure form and pure colour. (p. 28)

Mondrian moves close to Harrison’s sense of abstraction in art as involved in the process of making
meaning, and at the same time tries to remove the stigma of the ‘bloodless phantom’ by arguing on behalf of the concrete vitality of pure plastics. In an astute move, he transports the word ‘objective’ to a different ontological plane. Abstract is objective in trying to capture the reality veiled by subjective vision, but is non-objective in Rebay’s loose sense of the non-figurative:

We come to see that the principal problem in plastic art is not to avoid the representation of objects, but to be as objective as possible. The name ‘Non-Objective Art’ must have been created with a view to the object, [but] that is in another order of ideas. (p. 28)

The antonym ‘objective-abstract’ is as misleading, wrote Mondrian in another 1941 essay, as the
paired opposites ‘realistic-abstract’. In the essay titled ‘Liberation from Oppression in Art and Life’, he wrote that realistic art is taken to spring from aesthetic feelings aroused by appearance of objects, while abstract art is seen as abstract expressions in colour, form and space. This distinction Mondrian finds incomplete:

Even the most abstract art does not arise from an inner source alone. As in all art, its origin is in the reciprocal action of the individual and environment and it is inconceivable without feeling. Realistic art as well as abstract art is an expression of form and space: the difference results from different conceptions and the use of different expressive means. (p. 43)

By the 1940s, the polemical animus that ran alongside Picasso and Braque’s Cubist paintings of 1908-11 had all but subsided, allowing one to think of ‘abstract art’ with the reflective poise shown by Mondrian. But the questions do not melt away. In 1987, Roger Taylor was still wrestling with the terms ‘realist’, ‘abstract’ and ‘representational’, and suggesting that these do not exclude each other.(10) The debates are still relevant, if not in aesthetics, then most certainly in the history of the visual arts.

At this point, it may be useful to explore if there was an abstract turn in Indian painting around the
late 1920s and early 1930s—abstract, that is, in the Western sense. And it may be well worth considering if that turn was self-conscious, with an aesthetic discourse evolving alongside. My suggestion at the end of this short discussion is that there was, and the key figure in the turn, both in theory and practice was Rabindranath Tagore. The beautiful is not useful, it has no significance apart from being itself—comments of this sort are strewn across Tagore’s large corpus of aesthetic essays and  in his letters. Leela is at the root of creation. The rainbow is a brief play of rain and sun, the creator is pleased with the exquisite magic of this fragile moment—there is no other meaning to its beauty.(11)

Tagore was willing to grant the human artist something parallel to this autonomy. In a letter to Nirmalkumari Mahalanobis written in 1927, he wrote that the lotus is for its own sake: there is no other cause for its being. Genuine literature is something similar.(12) Lest we think that Tagore was a pure aesthete of the nineteenth-century variety or that he was close to the Symbolists, one has to read the essay Chhabir Anga published in Sabuj Patra in 1915, in which he talks of two forms of likeness or sadryshya (one of the six features of art listed by Vatsyayana) in a picture: of form and idea, of rupa and bhava.(13).

However, by the late twenties, when he wrote the letter to Mahalanobis, Tagore was painting pictures. By the time the Paris exhibition of his paintings was held in 1930, Tagore had very probably familiarized himself with the trends in Western art, and heard Austrian art scholar Stella Kramrisch’s lectures in Santiniketan in 1922-23 entitled Up to Dadaism. (14)

I am not suggesting that Tagore was the sole figure in the turn: there were surely others. But I am most certainly proposing that the evolution of his aesthetic views ought to be seen in the context of
his experiments in the visual arts, what it brought to him in terms of insights into the relationship of
the figurative and the abstract. It would probably explain the ‘oddities’ of his late poetry and prose, and his occasional unease with the style of the leading Bengal artists of the time, his nephew Abanindranath and his disciple Nandalal Bose among them.

References:

1 Translations from the Philosophical Writings of Gottlob Frege, trans. P. Geach and M. Black (Oxford: Blackwell, 1952), p. 84; quoted in Andrew Harrison, ‘Dimensions of Meaning’, in Philosophy and the Visual Arts: Seeing andAbstracting, ed. Andrew Harrison (Dordrecht: D. Reidel, 1987), p. 55.

2 Harrison, ‘Dimensions of Meaning’, p. 54.

3 Ibid.

4 Dieter Peetz, ‘Defining Abstract Art’, in Harrison (ed.), Philosophy and the Visual Arts, p. 141. See also Harold Osborne, Art and Artifice in Twentieth Century Art (Oxford: Clarendon Press, 1979), p. 26.

5 Paul Ziff, ‘On Being an Abstract Artist’, in Harrison (ed.), Philosophy and the Visual Arts, pp. 156-7.

6 See Eric Shanes, ‘Ideal Forms: Brancusi the Platonist’, Apollo, March 2010, <http://www.faqs.
org/201003/1984819181.html>, accessed 5 December 2010. See also Catalogue of Brancusi Exhibition (Brummer Gallery: New York, 1926).

7 See Michel Seuphor, A Dictionary of Abstract Painting preceded by a History of Abstract Painting (London: Methuen, 1958), p. 85. (Translated from the French Dictionnaire de la Peinture Abstraite, Paris, Fernand Hazan Éditeur, by Lionel, Izod, John Montague and Francis Scarfe).

8 Ibid. Rebay was among the founders of the Museum of Non-Objective Painting in New York in 1937 (now the Solomon R. Guggenheim Museum).

9 Piet Mondrian, Plastic Art and Pure Plastic Art 1937 and Other Essays, 1941-1943 (1945; 3rd edition, New York: Wittenborn, Schultz, 1951). Page references to the work are given in brackets in the body of the text.

10Roger L. Taylor, ‘Cubism – Abstract or Realist?’, in Harrison (ed.), Philosophy and the Visual Arts, pp.77-95.

11Rabindranath Tagore, ‘Pashchimjatrir diary’, Jatri, Rabindra-rachanabali, volume 19 (Kolkata: Visvabharati, 1352 BS; repr. 1363), p. 402.

12 Rabindranath Tagore, ‘Javajatrir patra’, ibid., p. 458.

13 Rabindranath Tagore, ‘Chhabir anga’, Parichay, Rabindra-rachanabali, volume 18.

14See Tapan Bhattacharya, Rabindranather chhabir katha’, in Rabindranath: shilparup, pathrup, grantharup, ed. Swapan Chakravorty (Kolkata: Ababhas, forthcoming).

——————–

Swapan Chakravorty is  Director General, National Library, Kolkata, and Secretary and Curator, Victoria Memorial Hall (Additional Charge). This article first appeared at artVarta . Issue 2 . 2011

Good Reasons (HUG Fiction)

Anil Menon

Imaginative resistance. I’d heard the chilly phrase for the first time, just a short while ago, in one of New York Public library’s cavernous lecture rooms. Yet it already feels familiar, as if the phrase had always been in my possession. The speaker had been a philosopher of literature from Harvard, one Doctor Tamar Szabo Gendler.

Imaginative resistance, she said, was the unwillingness of readers to imagine morally deviant fictional worlds.

I had been so busy wondering if readers could be, would be, so perverse, I almost didn’t recognize the man in the elegant overcoat outside Macy’s on 34th.

‘Humbert!’

‘Indeed,’ says Humbert Humbert, smiling in that cautious way he has. ‘Cof­fee?’

He doesn’t introduce his young companion. The look they exchange is appar­ently an instruction, because she disappears into Macy’s. There is something about her mouth’s appealing pout that invokes clenched fists and crumpled white sheets.

Over coffee, I tell him about fiction and imaginative resistance.

‘Sounds like a medical term,’ says Humbert, ‘an absolution for cures that fail to cure.’

‘Dr. Gendler’s given a name to one of Hume’s puzzles. Hume claimed that a story can do a great many things, but it cannot persuade a reader that an immoral fictional world is right. It seems there’s a fundamental unwillingness.’

Humbert considers my claim. His fingers grip his cup formally, as if he were drinking tea rather than coffee.

‘Unwilling? My dear fellow, an author seduces. What is seduction without unwillingness?’

‘Let’s not shift topics. Consider this two-line story: In killing her baby, Giselle did the right thing. After all, it was a girl.’

Humbert smiles. ‘And?’

‘Well, which reader will find that story morally acceptable?’

 

1

‘Trivial. I imagine Giselle has some horrid, extremely painful disease, pecu­liar to women. Alas, it is also transmissible and incurable. Why shouldn’t she kill her baby? After all, it’s a girl.’

Even if morality was necessarily independent of the imagination, Humbert went on to say, that very necessity could be used to unbutton the reader.

I remain unconvinced. ‘Let’s try another. Imagine a deviant, a connoisseur of innocence. Nymphets, perhaps.’

He waited, eyes glittering.

‘Now imagine a story in which a nymphet’s mother knowingly gives lodging to the deviant. I dare you to find it moral.’

Humbert puts down his cup. ‘Yes, readers must be dared. I claim it is an allegory about a God, a deviant serpent and a curious child-woman; to wit, Genesis, chapter 3. Didn’t God know what would happen in that Garden? Yet, millions find the tale quite moral. Imagine that!’

His claim had a certain piquancy.

‘Perhaps God’s Hands were tied.’ Humbert has the air of a man nursing a personal sorrow. ‘What must be done may be forgiven. Who cannot forgive necessity?’

It was a Valentine’s day morning, happy, pure, a premature Spring morning on which anything could be forgiven. His companion smiled and waved at us through Macy’s glass windows.

‘She’s in there supposedly to buy me a card, but I imagine I’ll end up buying her a hat. She’s developing quite a passion for hats.’ Humbert sounds resigned. ‘They grow up so fast these days.’

They do indeed. I remember we talked of other things. Teaching. Transi­tions. Raising teenagers. We shared many interests, Humbert Humbert and I. Yes, yes, I’ve heard what people say. I imagine he had good reasons.

- The End -

Anil Menon worked for about nine years in software before wising up, he says, about easier ways to write fiction. His stories can be found in a variety of magazines and anthologies. His novel The Beast With Nine Billion Feet (Zubaan, 2009) was short-listed for the 2010 Vodafone-Crossword award and Carl Baxter Society’s Parallax Prize. [He can be reached at iam@anilmenon.com.]

Isobel Armstrong’s Material Imagination

Steven Connor

 

I draw the phrase ‘material imagination’ from Gaston Bachelard, who uses it to describe two intersecting things: firstly, the ways in which the material world is imagined, not just by scientists and engineers, but by everyone, all the time: poets, children, footballers, cultural analysts, cabdrivers, medics and mad Hatters: the ‘material imagination’, then, as the way in which matter is imagined. In an age of conventional scepticism, in which the mind is always, as a Beckett character says, ‘on the alert against itself’, the prescribed move to make at this point is to doubt whether one can ever look steadily at anything other than one’s own conceptions or categories. But where do these conceptions and categories come from? For there is no way of imagining the nature of the material world which does not draw on and operate in terms of that material world, its spaces, substances, stresses, processes. Imagination is itself always prepossessed by the world that it attempts to imagine, made up, like the gingerbread-man enquiring into the question of his dough, of what it makes out. So the phrase ‘material imagination’ must signify the materiality of imagining as well as the imagination of the material.

Isobel Armstrong’s work is a the most richly significant extension we have seen in recent decades of what might be called a Hegelian materialism of signification. Perhaps that work is, as a result, sometimes caught in the fix that Hegel bequeathed to us all, whereby one cannot imagine any kind of object except as dead and other to us, even as we also cannot help wanting to take that object into epistemological custody, making it our own, making it us, by flooding it with feeling and concept. We either leave the object out in the cold of our objectifying, or we kill it with the kindness of our identification. Wherever you look, whether within the recesses of the subject, or at the object, the same subject-object pingpong is always about to start up.

And yet, Isobel has always been disinclined to let such predicaments bake into impasses. Indeed, the effort of her entire work has been to show the vitality of such predicaments, predicaments which are largely epistemological in Language as Living Form and political in Victorian Poetry. The problem which keeps generating and regenerating the ‘living form’ of nineteenth-century poetry is that of how to marry the self-forming contemplations of Hegel, in which the mind risks overwhelming its own world by taking itself as its own other, with Marx’s insistence on relationship. It is only when there is a relationship between the material act of mind represented by a poem and sets of material circumstances that relations can really exist, that time can be inhabited as well as merely unfolding, and that the poem can act and work (1982, 48-9).

The most significant moments in Isobel’s virtuoso readings of nineteenth-century poetry are often those where a certain field of material possibility is isolated, rotated and worked. There is, for example, the moment in which she reflects on Hopkins’s use of the phrase ‘glassy peartree’, saying that ‘[t]he idea emerges through the particular physical nature of glass and one might say that the notion of transparency is given a soul because it is incarnate in the specific irreducible and particular qualities of glass’ (1982, 8). Or there are these reflections on the idea of an ‘air’ in Victorian Poetry:

An air is a song and by association it is that which is breathed out, exhaled or expressed as breath, an expiration; and by further association it can be that which is breathed in, literally an ‘influence’, a flowing in, the air of the environment which sustains life; inspiration, a breathing in. All these meanings are present in the elegy, as perfume, breezes, breath or sighs, where they are figured as a responsive, finely organised feminine creativity, receptive to external influence, returning back to the world as music that has flowed in, an exhalation or breath of sound. (1993, 326)

Another example would be the reading of a passage from Shelley’s Prometheus Unbound in Language as Living Form which concludes that

Everything is moving through everything else and the kinship of exhalation and winds, rain and aerial dew, which are all offered as separate entities and actions, is such that forms and functions merge, reverse and exchange. With ‘it circles round’, ‘it’ is not merely either the original exhalation or the aerial dew but every element in the passage. Exhalation, winds, blooms, fruits, flowers, stems, leaves, dew, as a totality, a unity, circle round. The rapidity, the flux of syntax, the capacity of Shelley’s words to make things dematerialise into aery thinness, is extraordinary. (1982, 45)

These passages have in common the fact that they are reading poems which are themselves at these moments reading aspects of the material world, the world of nonhuman objects, substances, organisms, and processes, dew, air, transpiration, evaporation and, in the process, perhaps also trying to become these objects. In the last quotation, Isobel’s argument is that Shelley can do anything, because the mind of his poem makes everything over into itself. At this point in her argument, she is instancing Marx’s critique of Hegel, that, in the latter’s philosophy, ‘Man cannot create himself in terms of a meaningful and evolving relation with externality; he can only create himself anew as an entity of thought’. (1982, 43) But, in evoking Shelley’s dematerialising power, Isobel seems also to limit or partly to revoke it: if there is evaporation, coalescence, there is also work in Shelley’s writing, if only the work of dissimulating work. Isobel’s own working out of the process whereby work is dissimulated in Shelley’s poem restores the sense of an encounter, a striving, a resistance, an abrasion, a transforming, a surpassing. At moments like these, Isobel is borrowing a poem’s encounter with material objects or processes to release and disclose the nature of the poem as a worked object for her.

All of this might come down, as is suggested at the opening of Language as Living Form, to a question of digestion. You cannot eat the idea of a cabbage; but equally you cannot have your cabbage and eat it except by taking in the idea of a cabbage along with the object itself. Isobel shows the poem wrapping itself round what lies outside it. She similarly wraps herself round or assimilates to herself the poem which lies initially outside her own powers of assimilation. In reflecting upon the struggle of the Romantic poem to find and secure its objects, Isobel is also reflecting on her struggle not simply to swallow up the actuality of her object, the poem. She is trying to protect herself from becoming an ‘entity of thought’, that grows thinner and more spectral the more it consumes. For this reason, she will seem to want to fail to some degree, will want to reveal that Shelley’s poem does not quite bear out her argument, cannot fully be assimilated to its reading, lest she convict herself of taking the poem into custody, as she is saying it does with natural process. She will want, to borrow the term she borrows from Gillian Rose in a chapter of The Radical Aesthetic, to tarry, with a judicious anxiety, somewhere in the broken middle between world and word. Hence a certain rhetoric of approximation and curtailment, a cordon sanitaire that the critical act seems sometimes to want to throw around its object of analysis, as it were to protect its objecthood, and thus to allow the continuing possibility of relationship between object-poem and subject-critic. Significantly, this chapter in Language as Living Form begins and ends with Hopkins, and his ‘sustained attempt to prevent the world of objects from disappearing’ (1982, 51). There are two kinds of disappearance: the disappearance into objecthood uninterpreted, unrelated, untransformed; and the evaporation of objects into mind. Between these two alternatives, allegedly, there is labour, love, life, the life of the worked poem, its corporeal, living form.

Michel Serres suggests that every metaphysics is governed by a physics, that a specific form or theory of the material world bears upon every theory or philosophy. What kind of materiality could be said to be at work in Isobel Armstrong’s writing through the poetry of the nineteenth century during the 1980s and 1990s? It is conspicuously a materiality that makes itself known through struggle, strain, stress, and other similarly stringent terms evoking prodigious labour and strongarm tactics. One of the commonest words of description in Isobel’s analyses is also almost always a word of commendation: the word ‘strenuous’. The cogito of Isobel Armstrong’s work is a cogito not of knowing, but what Bachelard, following Maine de Biran, has called a cogito of striving (1948, 78).

What does one strive for, or, better perhaps, against? The answer is a thoroughly Victorian one, even, should you choose, a thermodynamic answer, since Victorian physics bequeathed its terms to twentieth-century aesthetics, via Freudian energetics. One strives against death, in all its forms, which is to say against the lowering or degradation of energies. And what is death, but depletion of energy available for work? What is death but the incapacity to strive? Death is entropy, indolence, indifference, randomness, chaos, unrelatedness. Without critical striving, with and athwart its poetic objects, there is either the deadness of fixed canonical truth, or the gaseous Brownian motion of mere ‘ludic energies’. Running through the aesthetics of living form, there is the parsimonious impulse not to let energy escape or become unbound, to keep the potential for work high.

And yet the materiality at work in much of Isobel’s writing about nineteenth-century poetry can also become paradoxically abstract and null, as it is often is in the work of Marx, the great idealist of the material. The most striking feature of this materiality is that it is without form and void, a mere mute, insensate impediment to the striving and form-giving actions of mind. Reading Blake’s Jerusalem in a later chapter of Language and Living Form, for instance, Isobel finds him at one moment locked or tonguetied in the enumeration of names:

The listing here is arbitrary and incoherent. The successive items have no meaningful progression or order, neither defined against one another nor related to one another. Repetition is random. It is a landscape of dispersal. Since each item has no existence but in itself it is a landscape of pure matter. Correspondingly words here have become pure matter. If fire, snow, sand, have no meaning but in themselves they are meaningless, and so ‘the voids, the solids’ are equivalents and collapse into one another. (1982, 107)

The assumption that governs this thinking about energy, matter and form, is of a fundamental, energising duality between dark and unreflexive matter and lucid mind. Without this jagged fissure running through things, there can be no struggle, no possibility of charging matter with life, no mastery or winning over of matter to the side of mind. Interestingly, the last completely ‘Victorian’ discussion in Victorian Poetry is of the work of James Thomson, who is seen as a materialist poet, where materialism is the name for a theory in which all the customary energising distinctions between man, nature, God, mind and matter itself have been obliterated. In the end, Armstrong tells us, the dissolving freedom of Thomson’s ‘atheist epistemology’ becomes frozen into negativity (1993, 475). One cannot help but feel that Thomson is not only a forerunner, but also a representative of those modernist and postmodernist writers (she says that Thomson’s is the Nietzschean predicament of the deconstructive sublime) who have abandoned the struggle to create living form out of substantial and intractable social and political content.

For two centuries, the aesthetic has been assumed to be the necessary, sometimes desperately necessary alternative to mechanism, that willed subjugation of life to rationalised matter. Without the flickering, cryptic powers of the aesthetic, we have become accustomed to think for the last couple of hundred years, there would be only blind utility, a life lived according to the imperious, rationalised, calculative logic of the machine. Adorno makes an occupation out of the aesthetic fixes into which this gets him. Either there is not enough form, and the aesthetic becomes mere distraction and frivolity, a mere spume upon the surface of things; or there is too much form and the aesthetic hardens into a kind of machinery, powerful but inert. The specific form of the material imagination at work here is perhaps Bachelard’s ‘cogito pétrisseur’, with the aesthetic as what he calls the ‘ideal paste’ between the alternatives of the soft and the hard (1948, 78).

Do these categories, of form, life and mind, that continue to drive discussion of the aesthetic, and determine the ways in which the relations between the aesthetic and the political are thought about, belong to a classical physics founded upon form rather than information, and a set of ideas about the nature of form, energy and life that no longer seem universally to hold? The interest of the passages such as the ones I have isolated from the two books about nineteenth-century poetry is that in them materiality is never pure, and so starts to breathe, to breed, to work, becoming therefore less abstract, more complex and differentiated, and less merely massy.

Two remarkable departures characterise the distinctive work that Isobel has been doing over the last decade. First of all, there is her remarkable investigation of the cultural history of glass. Isobel began her work before the current rise in the stock of ‘things’, which has made us accustomed in popular cultural history to biographies of subjects such as cod, nutmeg, salt, dust, TB and the colour mauve. Isobel’s apprehension of what it might mean to read the ‘cultural poetics’ of a produced substance goes far beyond this work, while also holding back from some of the places it goes. Where her earlier work on nineteenth century poetry showed matter either being wrought and wrestled into meaning, or falling away exhaustedly into cindery residue, her work on glass implies the active participation of the substance itself in forming consciousness: ‘glass consciousness’ (2000a), a phrase which is meant to evoke not just the heightened awareness and sensitivity to glass in the new culture of lustre and transparency that grew up in the nineteenth century, but a kind of thought and awareness into which vitreous form and organisation have entered and begun to operate.

Isobel’s continuing work on glass has become a kind of mythic endeavour: being a colleague of hers at Birkbeck during these years has been not unlike what it must have been like to be around Walter Benjamin when he was at work on his Arcades project – with the difference, one profoundly hopes, that it will not end its days being lugged in a suitcase over the Pyrenees. Even before it has been finished, and perhaps partly because of this, the very idea of what she has been doing and her many ways of speaking about and characterising it have created rich possibilities for new work at Birkbeck and beyond. Her nonce-characterisation of her work as a ‘cultural phenomenology’ has given me a name for some of the semi-farcical investigations I have tried to undertake of the status of magical objects in the modern world. It has inspired students in Birkbeck to undertake work on different aspects of the cultural life of material forms and processes: a cultural history of gravity, a poetics of air and odour, a philosophy of tremor. Suddenly, and because of Isobel’s allowing, materiality has a tellable history, other than as the raw, primal stuff on which art and culture go puffing to work.

This seems to come at just the right time, at a time at which scientific thinking about the nature of life, matter and form has become unignorable, even by literary critics, and at which the relations between the mental and the material have become so much jumpier and more interesting. How can one any longer Hegelwise counterpose matter and form in the era of DNA, when it becomes apparent that there has never been any wholly uninformed matter except in human fantasy? Information now overflows the gap between form and matter. Previously blind and insensate material forms prove to be alive with information. How will an aesthetics founded upon the laborious, in-forming confrontation of the material and the mental help us to manoeuvre in which the prerogatives of life and the living seem so little assured and in which material processes, from viruses to hurricanes, have come to seem so richly and unnervingly lively? A physics, and an aesthetics formed in its terms, which is based upon work, one-way transformation and determinate output (heat, light, poetry) is giving way to a physics of interfaces, ecologies, probabilities, reciprocities, probabilities and the turbulent circulation of energies. Following the curious temporality of science, from now on, for the time being, this will have been the way it always was.

Nevertheless, I think that what I take from Isobel Armstrong’s work is not altogether what she has put into it. In the end, her work turns to and on specific kinds of object, specific kinds of outputs and integrations. I take from her work an attention to systems and substances and processes – always linguistic, sensuous, actual, material, affective even when they are also theoretical, generalised, abstract – that run through and spill beyond these holding-stations or resting-places, of the poem, the poet, the work. Not that nothing remains to be said about such things; but more remains, at least now for me, to be said about processes of cultural work, about the meteorology, the epidemiology, the natural history of culture. Isobel Armstrong has begun to make available to be thought a world in which matter has its own ‘living form’, and in which ‘life’ is no longer concentrated at the thinking end of matter.

At the same time, and even, as a sort of planned digression from the historical investigation of glass, serving both to detain and prepare for it a little, there has been for Isobel the work which makes up the masterly Radical Aesthetic. Just as the work on glass offers a new way to think about and with the cultural history of matter, the struggle with intransigent and alien materiality seems to drop out of the picture when it comes to the new arguments about the force of the aesthetic deployed in The Radical Aesthetic. In place of struggle, there is now regulated play. Here, for example, the work of André Green helps her to a new stress on ‘the agonistic broken middle between conscious and unconscious’ and ‘the melancholic moment of scattering, of unassimilated material, not the reconciled symbol of completed mourning’, (2000b, 132). In the brilliant and resourceful diversification of the notion of the aesthetic ofThe Radical Aesthetic, she shows how idealistic, abstract and fixated most other accounts are. Like John Dewey, to whom she devotes a discussion, she wants to be able to see the many ways in which experience is art-work, as well as furnishing the raw material for works of art. Hence a notion of the aesthetic which must find a way of having to do with dreams, dancing and gunfire as well as odes and sculptures. Like Dewey, however, she also shrinks – and I will say, like Dewey, not quite intelligibly – from a complete deregulation of the idea of the aesthetic. The aesthetic will be preserved as the name of the form-giving propensity lifted up into its highest form. As such, it will be what ‘quite simply keeps us alive’ (2000b, 19). I hope I would have Isobel’s warrant to point to the many other things, from safety-belts to streptomycin, that keep us alive, while noting, in the spirit of the Auden who decided his line ‘We must love one another or die’ would be better revised to ‘We must love one another and die’, that ultimately of course, nothing does. For Isobel, for whom the work of Klein and Bion have become important, the aesthetic is important partly because it is a way of holding play and disintegration together; but perhaps we will be able to hold on much better to the sheer diversity of ways of being and staying alive that she awakens us to in The Radical Aesthetic by letting the aesthetic go. Yes, I suppose I am saying that I will want to have been led by her radical aesthetic further than she herself will at this moment go with it, to somewhere radically beyond even its rainbow: clean out of the aesthetic.
References

Armstrong, Isobel (1982). Language as Living Form in Nineteenth-Century Poetry. Brighton: Harvester Press.
———————- (1993) Victorian Poetry: Poetry, Poetics and Politics. London and New York: Routledge.
——————— (2000a). ‘Technology and Text: Glass Consciousness and Nineteenth-Century Culture’. In Culture, Landscape and Environment: The Linacre Lectures 1997, ed. Kate Flint and Howard Morphy (Oxford: Oxford University Press), 149-75.
——————– (2000b), The Radical Aesthetic. Oxford: Blackwell.

Bachelard, Gaston (1948). La Terre et les rêveries de la volonté. Paris: José Corti.

——————————————–

Steven Connor is Professor of Modern Literature and Theory, Birkbeck College, London.


In Defense of Poetry

Marjorie Perloff

One of the most common genres in writing about academia today is the epitaph for the humanities. In a recent issue of the Chronicle of Higher Education, Robert Weisbuch–an English professor at the University of Michigan and president of the Woodrow Wilson National Fellowship Foundation–declares:

Today’s consensus about the state of the humanities–it’s bad, it’s getting worse, and no one is doing much about it–is supported by dismal facts. The percentage of undergraduates majoring in humanities fields has been halved over the past three decades. Financing for faculty research has decreased. The salary gap between full-time scholars in the humanities and in other fields has widened, and more and more humanists are employed part time and paid ridiculously low salaries…. As doctoral programs in the humanities proliferate irresponsibly, turning out more and more graduates who cannot find jobs, the waste of human talent becomes enormous, intolerable.

More broadly, the humanities, like the liberal arts generally, appear far less surely at the center of higher education than they once did. We have lost the respect of our colleagues in other fields, as well as the attention of an intelligent public. The action is elsewhere. We are living through a time when outrage with the newfangled in the humanities–with deconstruction or Marxism or whatever–has become plain lack of interest. No one’s even angry with us now, just bored.1

Devastating as that last comment is, it’s all too accurate. Even the current boom in the economy cannot accommodate the best of our new humanities Ph.Ds.

Weisbuch does also offer some “solutions” (he calls them “Six Proposals to Revive the Humanities”): (1) gather data on our departments, finding out where our graduates get jobs so as to insure better planning; (2) practice “doctoral birth control,” using Draconian means to cut down the number of entering graduate students; (3) “reclaim the curriculum” by having all courses taught by full-time faculty members rather than adjuncts; (4) “create jobs beyond academe for humanities graduates”; (5) “redesign graduate programs so as to accommodate the new community college market, where teaching skills are more important than scholarly expertise”; and (6) “become newly public”–that is, to make better contacts with the so-called outside world. 2

The trouble with such practical solutions is that they assume that we humanists have a clear sense of what the humanities do and what makes them valuable–that we simply need to convince those crass others, whether within the university or outside its walls, that they really need us. But that assumption is untrue.

What are the humanities? Consider the answer provided on the web site of the National Endowment for the Humanities (NEH):

What are the Humanities?

The humanities are not any one thing. They are all around us and evident in our daily lives. When you visit an exhibition on “The Many Realms of King Arthur” at your local library, that is the humanities. When you read the diary of a seventeenth-century New England midwife, that is the humanities. When you watch an episode of The Civil War, that is the humanities too.

What a wonderful justification, this last, for being a couch potato! And this vacuous statement is not an aberration. Just look up the “National Foundation on the Arts and Humanities Act of 1965,” which brought the NEH and NEA into being:

1. “The arts and humanities belong to all the people of the United States.” What can “belong” possibly mean here? I as citizen do not “own” specific art works and philosophical treatises the way I might own stock or real estate. And how does this compare to the sciences? Does microbiology–or protein chemistry–”belong” to all the people of the United States?

2. “An advanced civilization must not limit its efforts to science and technology alone, but must give full value and support to the other great branches of scholarly and cultural activity in order to achieve a better understanding of the past, a better analysis of the present, and a better view of the future.” At best, this statement is blandly patronizing. Imagine someone claiming that “An advanced civilization must not limit its efforts to the humanities alone, but must give full value and support to those great branches of intellectual activity, the sciences and social sciences”? But further: the assertion that arts and humanities somehow make us better persons and citizens is, at best, implausible. Hitler, let’s remember, was so enraptured by Wagner that he attended performances of Lohengrin at the Vienna Opera House ten times in 1908.

3. “The arts and the humanities reflect the high place accorded by the American people to the nation’s rich cultural heritage and to the fostering of mutual respect for the diverse beliefs and values of all persons and groups.” Do the arts and humanities foster diversity? I know of no evidence for this proposition. Heidegger’s essays on Hölderlin are generally held to be classics of twentieth-century philosophy and literature. They aim to define the poet’s unique genius, but the last thing they foster is “respect for the diverse beliefs and values of all persons and groups.”

But if the NEH’s claims for the humanities are, to say the least, questionable, they are also quite typical. At Stanford, where I teach, the official Bulletin contains this description:

The School of Humanities and Sciences, with over 40 departments and interdepartmental degree programs, is the primary locus for the superior liberal arts education offered by Stanford University. Through exposure to the humanities, undergraduates study the ethical, aesthetic, and intellectual dimensions of the human experience, past and present, and so are prepared to make thoughtful and imaginative contributions to the culture of the future.

The language used here is revealing. Whereas the social sciences (according to theBulletin) teach “theories and techniques for the analysis of specific societal issues,” and the “hard” sciences prepare students to become the “leaders” in our increasingly technological society, the humanities “expose” students to the “ethical, aesthetic, and intellectual dimensions of human experience.” Exposure is nice enough–but also perfectly dispensable when leadership and expertise are at stake. Indeed, the humanities, as now understood and taught in our universities, no longer possess what Pierre Bourdieu calls “symbolic capital”: an “accumulated prestige, celebrity, consecration, or honour” founded on the “dialectic of knowledge [connaissance] and recognition [reconnaissance].” In the capitalist and multicultural democracy of late-twentieth-century America, ordered as it is based on money rather than on social class, “exposure” to the “intellectual dimensions of the human experience” is no longer a sine qua non of success or even the Good Life: witness Bill Gates or Oprah Winfrey.

Nothing could bring this point home more forcibly than the recent controversy over the NEH’s invitation to President Clinton to deliver the 2000 Jefferson Lecture in the Humanities, an invitation Clinton declined after a strong protest from the scholarly community. The annual Jefferson Lecture, inaugurated in 1972 by Lionel Trilling, has been given by the likes of Jaroslav Pelikan, C. Vann Woodward, Vincent Scully, Caroline Walker Bynum, and Emily T. Vermeule–all of them serious scholars and outstanding intellectuals in their respective disciplines, ranging from architecture (Scully) to history (Woodward) to classics (Vermeule). Accordingly, when William Ferris, the chairman of the NEH, explained that his hope was that in making the Jefferson Lecture a Presidential event, “the humanities” would be brought “into the lives of millions of Americans who don’t know what the humanities are and have no sense of the great work we do [at the NEH],” what he was really saying was that the term humanities no longer means anything, that at best it has a negative thrust–specifically, in the case of the Jefferson Lecture, giving the President a chance to make a speech that would not be overtly political but would deal with what are vaguely conceived as “humanistic” values. And of course this “lecture” would be written by the President’s speech writers–a situation that, in the scholarly community, would be classified as plagiarism.

Given this climate, perhaps we can think more seriously about the state of the “humanities” if we get rid of the word “humanities”–a word, incidentally, of surprisingly recent vintage. The first edition of the Oxford English Dictionary, whose supplement appears in 1933, does not include it at all. Humane,humanismhumanisthumanityhumanitarian: these are familiar cognates of the word human. But humanities was not the term of choice for an area of knowledge and set of fields of study until after World War II. The more usual (and broader) rubric was Liberal Arts, Arts and Sciences, or Arts, Letters, and Sciences. The shift in terminology–reflected in the now-ubiquitous humanities centers, humanities special programs, and humanities fellowships–testifies, paradoxically, to an increasing perplexity about what these designations might mean.

Suppose, then, that we get down to cases and look at the state of one the central branches of the humanities: the study of literature, or, as I prefer to call it, poetics. “Literature” is an imprecise designator that came into use only in the late eighteenth century,3 whereas discussions of the poetic are more ancient and more cross-cultural. The discipline of poetics–which, from Plato through the nineteenth century, comprises narrative and drama as well as lyric–has been classified in four basic ways:

1. The poetic can be understood as a branch of rhetoric. From Cicero and Quintilian to such medieval rhetoricians as Geoffrey of Vinsauf to the late eighteenth century rhetorical handbooks of Hugh Blair and George Campbell, the three divisions of written composition–inventiodispositio, and elucutio(invention, arrangement, and style)–have been studied as a way to improve the practice of writing (or speech making) as well as the appreciation and understanding of the speaking and writing of others. Rhetoric thus means practical criticism–the examination of diction and syntax, rhythm, and composition.

But effective rhetoric, as Aristotle first demonstrated in what is still the great treatment of the subject, is no mere “ornament,” as the tropes and rhetorical figures used to be called, but a matter of ethos and pathos: the artful presentation of a self designed to be persuasive to its audience, and the construction of an audience that will empathize with that self. If, to take some Renaissance examples, Philip Sidney is an excellent example of the ethical argument (in his case, the sprezzatura that makes us sympathize with Astrophel as with the modest speaker of The Defense of Poetry), John Donne is the master of the pathetic argument: the urgent and passionate appeal to the poet’s, and preacher’s, fellow sinners to be at one with his suffering.

In a forthcoming book, John Guillory argues that rhetoric is at the very center of our discipline as literary scholars. No other discipline, after all, has as its central focus the issue of how language is actually used in writing, whether in newspaper editorials or poems or the weather report. Conversely, inattention to rhetoric, as in Harold Bloom’s powerful poetry criticism, downgrades the materiality of the text at the expense of the ideas expressed in it, thus occluding the significant differences between, say, a Wallace Stevens poem and an Emerson essay.

2. From Plato to Heidegger and Levinas, poetry has often been understood as a branch of philosophy, and hence as a potential expression of truth and knowledge. Because poetry couldn’t pass Plato’s truth test–even Homer told false and salacious stories about the Gods–the poets were ostensibly banished from his Republic. I shall have more to say of this below, but for the moment, note only that this conception of poetry is antithetical to the first. If the main purpose of a literary text is to convey knowledge or formulate truths, questions of form and genre take a back seat. Rimbaud’s abandonment of the alexandrine, for example, in favor of free verse and then prose poems would matter much less than the content of those dense and oblique Rimbaldian texts, verse or prose. Again, if theories of poetry-as-rhetoric regard James Joyce and Ezra Pound as key modernists, the theory of poetry-as-philosophy would (and has) put Samuel Beckett or Paul Celan at that center.

The treatment of poetry as philosophy has produced some marvelous criticism, especially in the Romantic period and again after the Second World War, when Heidegger came to prominence. But it also has its problems, perhaps most notably that it favors one kind of poetry at the expense of all others–Wordsworth and Shelley, for example, at the expense of Popean or Swiftean satire, which doesn’t lend itself to comparable philosophical reflection. Whether the philosophical grid is Cartesian or Kantian or Nietzschean, lexical difference is subordinated to the Logos.

3. From antiquity to the present, poetry has also been classified as one of the arts(and here Aristotle is more important than Plato). In this configuration, poetry has to be studied side by side with, and in the context of, the visual arts, music, dance, and architecture. As such, discourse about poetry involves what Plato, in the Ion, calls technê kai epistemêTechnê was the standard Greek word both for a practical skill and for the systematic knowledge or experience which underlies it. So technê, meaning “craft,” “skill,” “technique,” “method,” and “art,” coupled withepistemê, meaning “knowledge,” is the domain of the arts. Plato himself concludes in the Ion that discourse about poetry doesn’t have sufficient technê kai epistemê,and that the rhapsode’s skill at speaking about Homer (but not other poets) is a matter of inspiration–in other words, a second-order poetry, one that cannot be taught or learned–it simply is.

4. Partly as a result of such Platonic skepticism about “teaching” poetry, as well as the unfortunate division of “literature” departments into the “critical” (English) and the “creative” (Creative Writing), poetics has increasingly been viewed as a branch of history. From this perspective, which is the guiding principle of contemporary “cultural studies,” a poetic text is primarily to be understood as a symptom of the larger culture to which it belongs and as an index to a particular historical or cultural formation. Literary practices, moreover, are taken to be no different in kind from other social or cultural practices. A poem or novel or film is discussed, not for its intrinsic merits or as the expression of individual genius, but for its political role, the “cultural work” it performs, or what it reveals about the state of the society. In this scheme of things, questions of value simply vanish, there being no reason why Henry James’s novels are a better index to or symptom of the cultural aporias of turn-of-the-century America than the best-sellers of the period–or, for that matter, early twentieth century domestic architecture, popular periodicals, or medical treatises. Read the list of topics currently being studied by the fellows at a university humanities center and you will find that “literature” functions almost exclusively in this way: the project titles would suggest to anyone outside the academy that all the fellows come from a single department–history.4

Literature as rhetoric, literature as philosophy, literature as art, literature as history: what is at stake in adopting one of these classifications to the exclusion of all the others? Interestingly, the first three inevitably incorporate history into the discipline, in that they examine the history of the different poetic, rhetorical, philosophical, and generic forms. But history of is very different from the transposition that views literature as history–the position of contemporary cultural studies, which is committed to the demolition of such “obsolete” categories as poetic autonomy, poetic truth, and rhetorical value. Since cultural studies currently dominates the arena of literary study, I want to focus, for the moment, on this particular approach.

We might begin by noting that the treatment of poetry as a branch of history or culture is based on the assumption that the poetry of a period is a reliable index to that period’s larger intellectual and ideological currents. Beckett’s Endgame, for example, testifies to the meaninglessness and horror of a post-Auschwitz, nuclear world. But as critics from Aristotle to Adorno have understood, the theory that imaginative poetry reflects its time ignores what is specific to a work of art, along with its powers of invention and transformation. Thus Aristotle’s point, in the ninth chapter of the Poetics:

The difference between a historian and poet is not that one writes in prose and the other in verse…. The real difference is this, that one tells what happened and the other what might happen. For this reason poetry is something more philosophical and serious [kai philosophoteron kai spoudaioteron] than history, because poetry tends to give general truths while history gives particular facts.

By a “general truth” I mean the sort of thing that a certain type of man will do or say either probably or necessarily…. A “particular fact” is what Alcibiades did or what was done to him.

It is clear, then … that the poet must be a “maker” [poietes] not of verses but of stories, since he is a poet in virtue of his “representation,” and what he represents is action.5

The meaning of the possible (“what might happen”) is made clearer by Aristotle’s response to Plato’s complaint that poets are dangerous to the state because they tell lies. “The standard of what is correct,” writes Aristotle, “is not the same in the art of poetry as it is in the art of social conduct or any other art…. It is less of an error not to know that a female stag has no horns than to make a picture that is unrecognizable.”

But of course Plato understood this distinction perfectly. The danger of poetry to the ideal republic, after all, is in direct proportion to its power, its charm, its magic: “We will beg Homer and other poets not to be angry if we cancel those and all similar passages ["false" stories about the gods], not that they are not poetic and pleasing to most hearers, but because the more poetic they are the less are they suited to the ears of boys and men who are destined to be free.” One could hardly endow the poetic with more power. And indeed, when in Book X of theRepublic, Plato takes up the ancient “quarrel between philosophy and poetry,” so as to dismiss the latter from the well-governed state, he admits that “we ourselves are very conscious of her spell … her magic.” That magic reappears at the conclusion of the Republic with the poetic myth of Er, as if to let us know that, despite all the good reasons to the contrary, poetry is for Plato finally the highest calling.

In distinguishing mimesis (representation) from diegesis (straightforward exposition or narrative in the author’s own person), Plato, and Aristotle after him, isolates the fictive as the essential characteristic of the poetic construct: not what has happened but what might happen, either possibly or probably. In his celebrated book, Metahistory, Hayden White taught us that, contra Aristotle, historical writing, even the “simplest” chronicle, also has a fictive element. White places nineteenth-century historiography, from Hegel and Michelet to Nietzsche and Croce, within the larger tradition of narrative fiction. But Metahistory was published a quarter of a century ago, in 1973, and since then a major reversal has set in. For even as the notion of text as representation continues to be operative (there being no “reality” outside textual representation that one can access), in practice the study of representation as all there is has created, ironically enough, a situation where the what of mimesis has become much more important than the how. Subject matter–whether divine right kingship in Renaissance England or the culture of condoms in early twentieth-century America–becomes all.

At its best, the alignment of poetic and cultural practices has given literary study a new life. Ulysses, for example, was traditionally read as a parodic modern-dayOdyssey or as an elaborate experiment in which plot and character are subordinated to the investigation of the possibilities of language. From the perspective of cultural studies, it is seen as a brilliant exposé of colonial subjugation–illustrating, as it does, the fate of ordinary Dubliners under British imperial rule. Or again, Ulysses reveals the “colonial” status as well as the hidden strength of women in the masculinist Joycean universe. Conrad’s Heart of Darkness and Nostromo are similarly read as depictions of the horrors of colonial oppression under capitalist expansion, this time with respect to race in Africa and Central America; here too the representation of gender has become the subject of interesting and useful critique.

The downside of the equation between cultural studies and literary studies is that, carried to its logical conclusion, cultural studies dispenses with the literary altogether. Studies of consumerism, for example, can be based on the analysis of shopping malls or Home Depot layouts; no literary texts are required. Teen culture can be explored through music, film, and computer games. Current social mores and cultural constraints can be profitably studied by examining Internet discourse. And so on. Everything, after all, can be a text–so why not a golf course? A skating rink? A theme park? One professor, I read in the Bulletin of a leading university, “specializes in 20th-century American literature, film and cultural studies…. She has begun a … book-length project that reads important post-World War II Hollywood films as public relations maneuvers, with which the studios sought to create a benign impression of a beleaguered industry and to shape the nation’s social and economic agenda during the difficult process of reconversion to a peacetime economy.”

Such studies are regularly designated as “interdisciplinary,” but what are the disciplines involved? In this case, the archives of the Hollywood studios would be relevant, as would the correspondence of producers and directors and interviews with those still alive. The basic discipline in question is history but the mode of analysis would be, broadly speaking, anthropological, in keeping with the cultural critic’s primary purpose: to unmask a particular social and economic agenda. Treating a film like The Best Years of Our Lives as historical/cultural index rather than as art work or philosophical construct is supposed to be broader, more “interdisciplinary,” than “mere” close reading or rhetorical analysis. In reality, though, it is predicated on a curious refusal–the refusal, as a matter of principle, to distinguish between the daily schlock manufactured by the consciousness industries (as in this case Hollywood movies), and those films that are conceived and designed to be works of art. In the name of even-handedness and “scientific” detachment, cultural studies has gone a long way in removing the pleasure intrinsic to the production and reception of poetics.

In Chapter 4 of the Poetics, Aristotle distinguishes two kinds of aesthetic pleasure: the “pleasure of representation” and the “pleasure of recognition”:

Speaking generally, poetry seems to owe its origin to two particular causes, both natural. From childhood men have an instinct for representation, and in this respect man differs from the other animals in that he is far more imitative and learns his first lessons by representing things. And then there is the enjoyment people always get from representations.

The pleasure of representation is the basic human instinct one can observe most directly in young children who “play” at being someone else, who make up a story and pass it off as “true.” It is the pleasure of invention, of fictiveness. The twin pleasure, that of recognition, is its mirror image, the pleasure of taking in the impersonations, fictions, and language creations of others and recognizing their justice. When Prufrock concludes his “love song” with the line, “Till human voices wake us and we drown,” the most un-Prufrockian of us will recognize the aptness of the image.

Pleasure was paramount for Aristotle as it was for the Plato, who expelled poetry from his Republic because it caused too much pleasure. But of course the pleasure calculus is complex: “one should not seek,” we read in Poetics XIV, “from tragedy all kinds of pleasure but that which is peculiar to tragedy, and since the poet must by ‘representation’ produce the pleasure which comes from feeling pity and fear, obviously this quality must be embodied in the incidents.” Catharsis, the purging of pity and fear, is not an end in itself; it is a particular kind of poetic pleasure. And so on.

It is, I would argue, the contemporary fear and subordination of the pleasures of representation and recognition–the pleasures of the fictive, the what-might-happen–to the what-has-happened, the historical/cultural, that has reduced the status of literary study in the academy today. The neo-Puritan notion that literature and the other arts must be somehow “useful,” and only useful–that the Renaissance and eighteenth century dyad of the Horatian aut prodesse aut delectare (“to teach and to delight”) no longer operates–has produced the mindset behind the NEH’s mission statement. If the arts are primarily designed to furnish us with role models from the past and thus make us capable of imagining a better future, they will always be found wanting. And in pretending that good artists are necessarily good people, people with the “right” ideas, who are bent on unmasking oppressive ideological formations, we will always find ourselves defending the arts and humanities to skeptical members of Congress who are offended by the obscenity of x and the politics of y.

Meanwhile, the NEA and NEH (and the academy) notwithstanding, the demand persists for art, for poeticity, for the pleasure of recognition–only now it is being satisfied outside the academy. In the past few decades–the decades that have supposedly witnessed a decline in interest in what we teach–the arts have flourished in extra-academic venues. Museum exhibitions and symposia, theater lecture series, poetry readings and festivals–these are jammed. It is easy to dismiss as mere bourgeois consumer culture the amazingly large turn-out at such blockbuster exhibitions as the Van Gogh show at the Los Angeles County Museum, with its attendant films, lectures, even staged readings on PBS of Vincent’s correspondence with his brother, Theo. But I have recently witnessed the public hunger for the arts in settings that are harder to dismiss.

A new Institute for Arts and Cultures has opened just this year at the Los Angeles County Museum of Art; its first director, Paul Holdengräber, is one of those many recent doctorates in comparative literature who couldn’t find an appropriate academic position. The first four speakers at this new Institute were two experimental poets, Jerome Rothenberg and David Antin, the painter Kitaj, and San Francisco’s own famous beat poet, Lawrence Ferlinghetti. If I invited David Antin, a “talk poet” I very much admire and on whose work I have written a number of essays, to give a reading for the Stanford English department, I would consider myself fortunate if fifteen people–mostly my own graduate students–showed up. At the LACMA Institute Antin drew a standing-room only audience of four hundred. For Kitaj and Ferlinghetti that number quickly increased to thousands–for Ferlinghetti, tickets had to be reserved and three thousand were turned away–and so now Holdengräber and his museum associates are left with the problem of how to allow sufficient public access to these events, and whether to charge admission.

The same crowds have animated theater symposia, art lectures, and roundtable discussions about literary topics held at non-academic venues around the country. At the American Conservatory Theater symposia in San Francisco, for example, a Monday evening discussion of, say, a new production of Chekhov’s Uncle Vanyaor a debate on the meaning of revenge in Euripides’ Hecuba, will draw five hundred people to the Geary Theater. The hunger for literary discussion on the part of a public allegedly victimized by the public relations routines of the media industries is not, it seems, to be suppressed.

But it is the response to poetry that is most surprising. In the past few months, I have spoken at a number of poetry festivals, all of them very well attended and organized. One was the Barnard College Conference “Language Poetry Meets the Lyric,” attended by at least five hundred people on a rainy weekend in New York. The second was a conference on Greek avant-garde poetry and diaspora at the University of Missouri in St. Louis, sponsored by a Greek-American endowment. And the third–and most unusual–was the People’s Poetry Gathering in New York held on the weekend of April 9. This event, at which I was on a panel on “Poetry and Democracy,” was nothing short of amazing, ranging as it did from a reading at St. Mark’s by the poet laureate Robert Pinsky, to poetry slams at the White Horse Tavern down on Hudson Street, outdoor readings with bands at Irving Plaza, and multicultural events (one called “Is Charlie Chan Really Dead?” featured readings by Lois-Ann Yamanaka and Shani Mootoo). A lot of what went on was fairly amateurish, but the gathering revealed yet again the enormous disconnect between the current demand for poetry, music, art events, and the critical discourse and reductionist approach to the arts that now dominates the academy.

For what is the fabled “interdisciplinarity” that ostensibly characterizes the humanities today? At the Stanford Humanities Center, as at most other such academic centers, it is a code word for subsuming poetry or painting under the cultural studies umbrella. “The Poems of John Ashbery” would be considered a little iffy by the fellowship selection committee, whereas “Cold War ideology and the New York School” would be more acceptable. Interdisciplinarity, in other words, currently means the subordination of the aesthetic to the political. Meanwhile, the truly interdisciplinary subjects are hardly taught at all. Consider photography, for the last century and a half one of the central art/literature disciplines. Photography cannot be studied exclusively in the art history department because most photographs are embedded in text and hence demand a certain literary expertise, especially with respect to rhetoric. I am thinking of the urban images of Eugene Atget vis-à-vis the Arcades Project of Walter Benjamin, of the photocollages of Robert Smithson and Laurie Anderson, as well as of the poet John Kinsella, whose most recent book Kangaroo Virus is a collaboration with the photographer Ron Sims: together, poem and picture create an important semantic debate that is further qualified by the sound track on the CD that accompanies the book. Photography also has an important philosophical dimension because of the complex relations of word and image: Jean-Michel Rabaté has recently edited a book of essays prompted by Roland Barthes’sCamera Lucida. And yet college and university curricula have been notoriously indifferent to this branch of the humanities. The same is true for architecture, a field that has witnessed, in recent years, some of the most exciting interdisciplinary critical discourse we have: witness the journal Zone, edited by Sanford Kwinter. Technically, architecture is, like photography, taught in architecture schools (or as a minor part of the art history curriculum), but I submit that if there were a genuinely interdisciplinary program in architecture, taught by philosophers and literary critics, as well as art critics, it would be tremendously popular. To visit, for example, the new Frank Gehry Guggenheim Museum in Bilbao, and to see the incredible excitement of a highly diverse public is to learn that, Robert Weisbuch to the contrary, the arts are alive and well–they just aren’t a serious component of the university curriculum.

What is needed, in short, is a reorganization of departments themselves, so as to be more accountable to the current demand. Rather than subsuming everything under the history/culture umbrella, we should try the reverse. Thus, we would start with poetry in the generic sense as one of the arts, and an in-departmental program with courses on the verbal medium in relation to the visual and the musical and how these have interacted in different historical periods. Next, we would study the rhetoric of specific poetries across national and cultural boundaries and again in relation to the rhetoric of other art forms. Then there would be courses in poetry as a form of knowledge: Celan and Heidegger, if you will, or Yeats and Gnosticism, or a Lacanian reading of Beckett’s fiction. Finally, some consideration would be given to the historical and cultural place of a poetry like Celan’s, its response to the trauma of the Holocaust and postwar diaspora.

In making the arts, rather than history, the umbrella of choice, we can also begin to make more useful connections between arts and sciences. Consider a recent exhibition at the Getty Center in Los Angeles, called “Degas as Photographer.” This was, in the scheme of things, a minor exhibition. The Impressionist painter only turned to photography in the 1890s, and he was a self-proclaimed amateur. His photographs are extremely literary: many were evidently undertaken as an homage to Mallarmé, whose whole family is depicted in numerous poses (as is the Halévy family, Laure Halévy having been a model for Proust’s Duchesse de Guermantes). Some of the photographs are narrative, telling the sad story of one of Mallarmé’s orphan nieces, and there are allusions to specific Mallarmé poems in one or two pictures. But the photographs also have a certain scientific interest, since Degas produced a number of photographs that were inadvertently solarized, and he kept them because he found them visually so striking. Then, too, Degas was one of the first photographers to use enlargement. A fairly pedestrian realistic contact print acquired, due to the time exposure, a blurring of edges that makes these photographs painterly–but, ironically, not at all like Degas’s own paintings, which emphasize the sharp outlines of the body.

It was surprising to see how many people attended this little exhibition. Why would so many Getty visitors–a very diverse multiethnic, multinational group–be interested in what are, after all, amateur photographic works, even if by so celebrated a French painter as Degas? I believe it was the curious relationship of science and literary allusion, of painterly dimension and photography that proved to be so attractive. A comparable “interdisciplinary” mix–this time between verbal text and poetic image, iconography and calligraphy, as well as its exemplification oftechnê–makes the illuminated manuscript rooms of the Getty so popular.

Now let me come back to the “solutions” to the humanities crisis that Robert Weisbuch advocates–solutions that reflect the thinking of the MLA and similar professional organizations. To gather data on our departments, find out where our graduates get jobs so as to insure better planning, “practice doctoral birth control,” “reclaim the curriculum” by having all courses taught by full-time faculty members, and “redesign graduate programs so as to accommodate the new community college market, where teaching skills are more important than scholarly expertise”–all of these are largely window dressing. We don’t need to reclaim a curriculum that has lost its momentum; we need to devise a curriculum that does not reduce literature to cultural exemplum, a curriculum that will make poetics and its special pleasures once again material–not only to coursework, but to the way we live our daily lives.

There are signs that such change is on the way. In the last few years, a surprising number of the assistant professorships in my own field, twentieth-century poetry, have gone to the poeticians, poet-theorists, or poet-scholars who hold the Ph.D. I am thinking of Craig Dworkin at Princeton, George Henry Clarke at Duke, Peter Gizzi at Santa Cruz, Yunte Huang at Harvard, Steve McCaffery at York, Jena Osman at Temple, Juliana Spahr at Hawaii, and Cole Swensen at Denver. The inclusion of these poeticians in English and comparative literature departments is already having repercussions: at the University of Denver, for example, poets Bin Ramke and Cole Swensen organized a large conference on the poetry/theory interface, a conference attended by Romanticists and Renaissance scholars as well as by post-modernists. Perhaps there is an academic demand for literary scholars–but the demand is for literary scholars who are actually interested in the workings of literature.6

I have been speaking only about poetics; in other humanistic fields there are no doubt different problems and solutions. But, whatever the specific field, it might be well to remember that apologetics is never a fruitful mode of discourse. Never apologize, never explain! I thus deplore those new MLA-sponsored National Public Radio programs (and I refused to do one) in which “we” (academics) explain to “them” (the public) what it is “we” do in our classrooms. At the same time, I take issue with such humanist jeremiads as George Steiner’s recent essay “The Humanities–At Twilight?” which argues that in contemporary technocratic mass culture, there may, alas, be no room at all for the humanities:

Democracy and economic-distributive justice on a democratic plane are no friend to the autistic, often arcane, always demanding enterprise of “high culture”…. Add to this the failures, the collaborative treasons of the clerics, of the arts, of the humanities in the fullest sense, during the long night of this century in Europe and Russia. Add to this the fundamental doubt … as to whether the humanities humanize, and the thrust of the crisis is inescapable. 7

Interestingly, Steiner’s elegiac essay never refers to a single work of art written since World War II: Adorno’s adage that there can be no poetry after Auschwitz seems to be taken as a given. This retro Kulturdrang strikes me as just as misplaced as Weisbuch’s “how-to” practicalities. One cannot kill the human instinct to make poetry–the German verb Dichten is apposite here–and to enjoy the poetry making of others: indeed, the study of poetry has been with us much longer than any of those current academic orthodoxies Steiner deplores, and it will continue to be with us. Some things, it seems, never quite collapse.

Let me conclude with a little Frank O’Hara poem that is nicely apropos:

Lana Turner has collapsed!
I was trotting along and suddenly
it started raining and snowing
and you said it was hailing
but hailing hits you on the head
hard so it was really snowing and
raining and I was in such a hurry
to meet you but the traffic
was acting exactly like the sky
and suddenly I see a headline
LANA TURNER HAS COLLAPSED!
there is no snow in Hollywood
there is no rain in California
I have been to lots of parties
and acted perfectly disgraceful
but I never actually collapsed
oh Lana Turner we love you get up


(Note: A version of this essay was presented as a lecture at the Stanford Humanities Center conference called “Have the Humanistic Disciplines Collapsed?”, held the weekend of April 23, 1999.)

1 See “The State’s Role in Shaping a Progressive Vision of Public Education,” Phi Delta Kappan (November 1998).

2 In a follow-up article in the Chronicle of Higher Education, Weisbuch outlines more fully his plan for “aggressively promulgating the value of what we do in [the humanities].” The Woodrow Wilson’s new project, “Unleashing the Humanities: The Doctorate Beyond the Academy,” with a budget of about $100,000, will award grants to academic departments that “encourage students to interact with the world as part of their graduate training.” A second program will award up to 30 grants of $1,500 each to support doctoral students who are using their training in a non-academic setting. The third program seeks to match top doctoral students with companies, schools, and other employers that can offer the “meaningful” positions outside academe. See Denise K. Magner, “Finding New Paths for Ph.D.’s in the Humanities,” Chronicle of Higher Education, April 16, 1999.

3 According to the OED, literature (from the Latin littera, or letter of the alphabet) as “Literary work or production; the activity or profession of a man of letters; the realm of letters,” was first used by Samuel Johnson in the Life of Cowley (1779): “An author whose pregnancy of imagination and elegance of language have deservedly set him high in the ranks of literature.” The more restricted sense of literature as a “writing that has claim to consideration on the ground of beauty of form or emotional effect” does not appear until 1812. Literature in the sense of “the body of books and writings that treat a particular subject” is first found in 1860.

4 Here is a partial list of project titles at the Stanford Humanities Center for 1998-99: “The Pathological Public Sphere” (Mark Seltzer, English); “Ethnography before Ethnography: Fabricating Ethnographic Objects within Medieval Christendom” (Kathleen Biddick, History); “Oaxaca and the New World Baroque” (Cynthia Steele, Romance Languages); “Navigating Diaspora” (Donald Carter, Anthropology); “Desiring Machines: American Minimal Music as Cultural Practice” (Robert Fink, Musicology); “Defining Acts: Drama and the Politics of Interpretation in Premodern England” (Ruth Nissé, English); “The Pro-Choice Mistake (And Another Defense of Access to Abortion)” (Laurie Shrage, Philosophy).

5 Aristotle, Poetics, translated by W. Hamilton Fyfe (Harvard: Loeb Classics, 1960), pp. 36-37. I have translated the word philosophoteron as “philosophical” rather than “scientific,” which is misleading. Otherwise, I stick to the Fyfe translation.

6 Just as I was completing this essay, the Los Angeles Times ran a front page piece called “Answering their Poetic Calling,” describing the new boom in poetry programs. “Nearly 300 universities,” we read, “have established graduate poetry programs since the mid 1970s and the best ones are overflowing.” See Alissa J. Rubin, Los Angeles Times, April 21, 1999.

7 George Steiner, “The Humanities–At Twilight?”, P. N. Review 25, no. 4 (March-April 1999): 23.

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Marjorie Perloff is Professor Emerita of English at Stanford University and currently Scholar-in-Residence at the University of Southern California.
This piece was originally published in the February-March 200o issue of Boston Review.

The Civic & the Ludic

 

 

 

 

 

 

 

 

 

Rajarshi Dasgupta & Prasanta Chakravarty

Abstract

This dialogue, written in 2008, tried to unpack the terms of thinking about the transformations in Indian politics, especially in West Bengal, following the turn of events in Nandigram. It tried to appraise left-liberal issues of governance, and develop new categories to understand some of the forms of resistance at that time. The speakers were also conversing, at the same time, with a shared sense of the changing topography of the political. New kinds of spaces, new practices and interventions, new kinds of concerns were presenting unfamiliar gestures within the familiar structures of power. Things looked new but also disturbing. Much has changed now, of course. The dialogue approaches these questions with three interwoven but distinct engagements: a resurgent conception of ethics, the problems of realpolitik and the political role of aesthetics. The outcome is not a standard article of political science, but a revisionist excursion with a touch of lightness, which raises questions about the desired forms of life and practices in a democracy like India. The discussion tries to go beyond the familiar Marxist and liberal arguments on agency and self and re-frame the role of subjectivity and matter in politics. Keeping the predominant institutional forms of politics like the parties and election in the background, the exchange speculates on the new kinds of political associations and potential communities waiting on the wings of democracy.

 

Hope was twelve hours gone/And frightful a nightfall
folded rueful a day/Nor rescue, only rocket and
lightship, shone, /And lives at last were washing away.

The Wreck of the Deutschland–Gerard Manley Hopkins

Prasanta: Whether the succession of events that have unfolded in West Bengal over the past two year or so, reaching a sort of crescendo in the months of October-November, 2007, are momentous enough to make any tangible difference in the social and political life of the state is still an open question, but going by the sheer volume of protests and the visibility factor, these are extraordinary times.  The processes of institutional politics are still unfolding though, with some interesting results coming up in the 2008 Panchayat elections. Having a long-standing interest in studying left politics in India and thinking about the language of politics in more general terms, I was wondering about your reactions on certain key points that have been emerging since. There are certainly diverse issues of interest involved here, but one important talking point pivots around questions of ethics, or their lack of, in everyday politics in West Bengal.

Rajarshi: It is a testing time for the Indian Left, I agree, but I don’t think it will lead to a change in the power structure or in the language of everyday politics too soon. I also doubt if questions of ethics are being raised directly and pointedly, even if we sense a moral overtone in the indignation of some segments of society and in their unusual modes of protest. This may have more to do with a growing disquiet with our party system’s tiresome monopoly over representative politics, seen as instrumental, manipulative, unsavory and untrustworthy by many. The blackmail of having no rational alternative, flogged by the left, right and centre alike, has narrowed the political space so much that any intervention begins from a place called ‘apolitical’, hence, mistaken as ethical. This doesn’t mean there is no ethical side to what is happening. But I want to be careful in thinking how exactly such dissent is ethical: because it is not political? I will disagree with that. It is useful to separate the ethical and moral here, as the latter has more currency in common sense and what we might describe as the liberal contractual language. Indeed, most party discourses contain appeals to morality: we know their competing notions of virtue and good life; we hear them pledging truth all the time. But the sense of these properties has become a matter of cynic polemic and superficial reasoning, as we know, in such opaque terms that only cadres can administer and make careers out of them. As Nandigram shows, the language of politics has been replete with moral appeal on both sides, yet it sadly remains bereft of justice, tolerance, transparency and equal decision-making to a great degree. Besides, how is the moral lack of a ruling party at all relevant if it continues to enjoy electoral majority? (Should we not consider Narendra Modi’s election as a lesson?)  It seems to me a crisis of the techniques of representative politics, a crisis of the parliament seemingly lacking energy for democratic change, which must be underlined before we discuss the ethical side.

Prasanta: One appreciates your distinction between the moral and the ethical, but in popular imagination one can still see that a language of virtue and conscience being coupled with a scathing criticism of an ossified and dangerous culture of totalitarianism that has become synonymous with West Bengal. It is here that one notices a real possibility: the collective across the civil society discourse and the one around extra-parliamentary political order both would galvanize around the ethical language of virtue and conscience. But this could of course be dangerous. Both these groups have thus can rise, in fact have risen, above the contractual language of moderate mainstream liberalism as well that of official Marxism. There is a sudden and momentous realization among sections of the much vilified Bengali middle class at least, that there is something more to politics and society than the metaphors of merit or equality around which much of our contemporary political discussions revolve. There is some hope but it could be mistaken too. But, I have two questions here. One, what constitutes this new language? And why would this language of virtue itself be not a platform that would demand a certain kind of austerity that would be equally top-down and closed?

Rajarshi: That is the question I have in mind too. What is new about this new language? If we are to go by the discourse generated by Singur and Nandigram’s resistance, we find the traditional Marxist polemic argued in terms of the political economy, coupled with alternative frameworks of development argued in terms of rights and social justice. There is along with this a lonely but steady defense of the so-called ‘non-modern’ ways of life by the likes of Mahasweta Devi, who comes closest to voicing a radical ‘language of conscience’ in this context. But there is also another, ‘modern’ way of life promised by the government and the ruling party, which opposes this language with another call to conscience – to uphold law and order, to see the bigger picture, to ensure ‘peace’, even if one is deeply pained by Nandigram. Now, do you want to destroy the peasants and their way of life at a time when they are starving and committing suicides? Conversely, do you want to condemn a communist party at a time it is fighting the American sway and helping the Congress to keep the BJP at bay? What communists are doing in West Bengal must be balanced with their deeds in the past, and what they are doing elsewhere. Similar kinds of dilemma are rife in the e-mails, entries and exchanges found in the internet about Singur and Nandigram, especially in development-dialogue-blogspot and www.kafila.org. The catch is that if A claims B is no more communist, B already claims that A is anticommunist, and if C says B is undemocratic, D can say C supports violence anyway. And where does our conscience lie? So you will understand if I remain skeptic with regard to a ‘language of conscience’ opposing a ‘culture of totalitarianism’, which has been the language of radicalism for long. There is a tendency in such language to bypass the patient reasoning necessary to tackle the ways of power and the pressing needs of a society. Such a language often voices no more than the ambition of a section excluded from power, without ever saying how it will differently wield if given the power. This is the sense we may get very strongly from looking at the BSP today for instance. Think of the sixties. Are we not looking at a ruling clique in West Bengal that shouted hoarse over violent and unethical ways of the Congress back then? Can we distinguish between the aggressive style of that Congress establishment and that of the CPIM all that much? I think we should be actually asking if a ‘language of virtue and conscience’ can be an integral part of ‘cultures of totalitarianism’, if their opposition is only superficial, if they actually nurse the same kind of oppressive power. Such issues may mobilize both civil society and extra-parliamentary politics but they cannot mean the same thing to those with different stakes in the social order. I agree we have to think about what you refer to as ‘lack of ethics’ in a sense, which has to do with the hypocrisy and deception circulating in the field of democratic politics. For a career in politics now it seems you need a competence bordering criminal – that too on a systematic scale only some parties are able to muster. More than anything, one must have a brutal monopoly over violence like a muscular and aggressive nation state. This is how the US offers freedom to Iraq, how the BJP has ushered growth in Gujarat, how the CPIM plans to bring development to Nandigram. If there is an ethical side to the current crisis it needs to address this powerful mechanism of duplicity globalization has gifted to democratic politics. Though I don’t seriously think a new language of political ethics is emerging, there is it seems a clear exhaustion with the existing one.

Prasanta: One focal concern that you have raised already is the crisis of parliamentary techniques in politics. I underline your use of the word technique, in the sense of craft or art, as opposed to political practice that is perhaps more direct and transparent, shall we say. This particular approach to the political you find fundamentally undemocratic and corruptible. On the other hand, you have implied a few markers or positive traits of the ethical, which could be interesting starting points: justice, tolerance, transparency and equal decision-making. While you are correct in identifying that the language of virtue and conscience have somewhat lost their sheen by repeated and utterly irresponsible usages, I think such metaphors, if wielded carefully, can become powerful political rallying points, and be even consonant with the ethical attributes that you broach. I am referring to a politics of virtue in the deep sense of the term. Let me make myself clear through a distant example. In Kenji Mizoguchi’s 1954 classic Sansho the Bailiff, set in eleventh century feudal Heian Japan, a brother and sister, children of a highly liberal nobleman, journeying to meet their exiled father, become separated from their mother and are sold into slavery. As a political allegory the film raises important ethical questions about Japan’s contemporary social hierarchies as well as about its disastrous military adventurism in the 1930s and 1940s. Seen from a political point of view, the film seems to expound the purest liberalism. Against tyranny it sets law; against captivity, freedom. The story takes place, as the opening caption informs us, “in an era when mankind had not yet awakened as human beings,” and charts rather imaginatively the early stirrings of proto-democratic consciousness. All viewers remember the words that the father teaches his son before being sent into exile: “Without mercy, man is like a beast. Men are created equal. No one should be denied happiness.” And at this point the father delivers this message over a miniature effigy of the Buddhist goddess Kwannon, entrusted to the boy as a parting gift. The film here takes a meaningful ethical turn that takes the ideas of tolerance and equal-decision making above democratic activist politics, as we know it today. For though the message of concern and care is compatible with liberalism, in another way it seems to raise it a notch higher. When the son eventually frees the slaves and resigns his title as a governor, viewers appreciate the full implications of such a virtuous terrain that is also just and transparent. Power and office are mistrusted, sacrifice and simplicity vindicated. We shall come to the relationship between art and politics, especially in Bengal, in greater detail shortly but I want to underline a point right here. Mizoguchi does not sentimentalise his subject and that gives a spare force to his vision that distinguishes it successfully from the morality of virtuous politics that you are sceptical about. I am not for the moment equating Heian Japan with present day West Bengal, but I feel there is a possibility of rummaging and re-discovering a language of politics that can deepen the usual preoccupations of the liberal left—debates on individuality or equality, for instance. One would expect a similar deep sense of virtue from the author of Andher Sparsher Moton (Touch of the Unsighted—Pranabesh Sen Memorial Lecture, 2007), where he highlights, taking a cue from Tagore, a language and tone of calm resolve in our daily social and political transaction that may lead to a poiesis far deeper than craft. May be, in spite of their many differences with Sankha Ghosh, many on the fringes or outside of the parliamentary system and disillusioned with its functioning, will agree on this simple ethics and give it a far more radical but practical political shape in West Bengal rather than fan idioms of retribution and reprisal.

Rajarshi:  Before talking about the ethical side, let me clarify that I am not opposing the word technique to practice, like one opposes artificial to natural. I am only trying to deepen the sense of what practice involves, technique is a way of thinking about that in a more differentiated manner. Also, by justice, tolerance, transparency and equal decision-making I meant the essential values of democracy rather than defining traits of ethical, which we may be approaching differently. Correct me if wrong, but you seem to see the ethical like a near-perfect order – of a subject embodying restraint of being, learning to speak a language of virtue, which everybody from the civil society to middle class, parliament, public, etc will recognize as ethical and protest in absence. I will not deny this, for it will be impossible to communicate without such a language in the first place. But this line of thinking may neglect a most critical aspect of the ethical – an attitude, propensity, craving and movement, against the received ethics of normal, to intensify, to push the ‘normal’ and take it to its limits. This attitude per se may not be linked to civil society, republican values or middle class life, but it must be seen as forging a certain relation to freedom and power. It is difficult to give this a name with positive property; but it is easy to see how it renders an opposing attitude as unethical. The important thing is to understand the source and limits of our dominant sense of the ethical, which turn unethical as these limits are breached, often by minor articulations. I have not seen the Mizoguchi film, but something strikes me immediately about the plot – how virtue or proto-democratic consciousness is highly religious – piety to be precise. It is piety that later transforms into a gesture of renunciation for the son, beneath the secular fabric of the act, valued by radicals, left, liberals and religious believers alike. I have spoken elsewhere about a sacrificing feature of Indian Marxists whose act of renunciation also mobilized a moral authority and likely coercive power, where this gesture gave control over other lives insidiously. Let us ask what a sacrifice seeks to consolidate – is it not a model of life we feel has authority everybody should be subject to? Is it not a new mode of power imposed on the plane of difference and equality? Does it not reduce individual life to an outcome calculus like a function of production? But you are also talking of a deep sense of virtue, which goes beyond petty individual reasoning to care for the others, what we come across in poetic discourses. I agree that a deep sense of ethical can open up new questions; we could talk later about this at more length. But I don’t think it is a case of ‘simple ethics’. Beyond the calm repose, I believe, poetic discourse carries the attitude I could describe as critically ethical, which moves towards a new sense of justice, beyond what is already the law. This operation is by no means simple or natural. It does not want to simply restore by reason a balance lacking in the present, but more to engage the madness to figure out how to cope with the present in other ways. It is a strategic relation with power, rather self-contradictory attack on the monumentality of political event and centrality of the citizen subject. My favorite example is Sa’adat Hasan Manto’s Toba Tek Singh, where the partition of India is taking place inside an asylum, whose inmates are wondering where their native places are going to go; which nation they would not care to join. One man climbs up a tree and refuses to come down; another one cants a parody of nationalist slogans, while Toba Tek Singh dies in a spot in between the two nations. I think the greatness of the story lies in straddling two different frameworks of ethics – the historical one where the nation is a just outcome, but not quite so in another one. There is a third frame here as well, where moral reasoning is made available to madness, where a different sense of justice lurks in the minority, eluding our comprehension. I am interested in that kind of sense of the ethical.

Prasanta: I am certainly not trying to politicize virtue, nor wish to imagine a telos of perfectibility, or flourish. I do believe though that there can hardly be an easy equation between a deep language of virtue and normalcy. I think, and you have noticed rightly, that it is highly unusual and out of bounds for everyday received notions of ethics to inculcate a truly simple sense of everyday interaction. And in this context, I was referring to simplicity, again not in the sense of natural repose but as an attribute that needs to be acquired, honed with great tenacity and practice or sometimes may be epiphanic or revelatory (in a utopian way, not in a divine sense), chanced in moments of inspired dementia may be. Such a revelatory moment may be passing by us in Bengal now. For instance, that the ruling left front lacks transparency in governance and its leaders constantly use political legalese in order to obfuscate issues may give rise to a simple sense of repugnance, which in turn might accumulate into unusual but positive kinds of ethical-political action. In other words, is it possible for the madness of Tek Singh to get translated into something as subtly constructive, and in an equally grand scale, that highlighted his death in no man’s land? The dominant and fashionable sense of the ethical, as I see it, are rather marked by narrow activism or uncritical nostalgia, attributes that erode the possibility of a genuine complex demos. A far-reaching political vision about West Bengal needs to forge such inspired madness with the possible; be conscious and inclusive about its political goals, without letting go off the trace, the residual, the unknowable. Everyone, including the minority, has an investment in such freedom. Everyone, given a situation, an event, may experiment and cross the limits posted by the banal mediocrity of the existing political-economic choices.

Your other query touches a very nodal area in our discussion. The central point about Sansho is not renunciation and sacrifice, which are incidental and only taken recourse to after the political and social acts of an other-regarding nature, of abolishing slavery and feudal excesses, are taken care of. I would, however, be cautious before concluding that such an attitude necessarily stems from piety or compassion, traits that can have distinct patronizing and righteous overtures, depending on the context, and can take us back to what you began by questioning: a vapid moral virtuousness. I could not have agreed more with you that such pursuits for a pure domain of ethics have often quickly led to consolidation of authority. The care that the father-son duo symbolizes in the film, on the other hand, is rather highly political and democratic, so that the materiality of the decisions and gestures are never ever high browed or condescending, never descends into a search for purity. All players interested in constructively radicalizing a polity, not least in West Bengal, could well appreciate this crucial distinction.

Let me now address another of your observations quickly. Like many, I do share your tiredness with the existing language of hypocrisy and deceit that underlines the nation state and what runs as democratic political language today in West Bengal. To take one critique against liberalism seriously, politics is always about understanding and fighting your enemy; it cannot be about consensus building, regardless of the political system. Politics is an art practiced within constant and unfolding anarchy. Guile, deviousness and even violence have been the basis of running a polity in any real sense. Ethics, if deployed at all, has to be discussed within the parameters of the techniques of real politic. The left liberal ideas of stability and progress are mirages, needless obfuscations that distance us from what actually constitutes the political. Are we then sentimentalizing politics by highlighting the luxury of tiredness and ennui? You can see that I am in a sense arguing against myself here.

Rajarshi: I am somewhat interested in the luxury of tiredness and ennui, both as a particular kind of relation to doing things and as a chance to question their meaning. I believe the negativity attached to them has less to do with being human and more with living like a subject made responsible for doing things in a particular way. If the tired runs away from this boring duty, if ennui offers an escape, why not – what is bad about escape? The important thing to see is if there is a sense of responsibility outside an oppressive subjectivity, if it generates new kinds of capacities and possibilities of being, which do not necessarily have to be respectable from our perspective. I think we find strongly competing notions of justice in such ways of being that deceive the normal sense of the ethical, in Foucault’s use of the normal. Our sense of the relation of power and ethics must involve an understanding of the relation of this normal and ethical, how a set of values are allocated through the techniques of governing, how they are modified or displaced by other techniques. Let me give an example. Many perceptive social scientists working on village politics have noted long enough that the same family will distribute its members into supporting different and opposing parties, like diversifying the risk of political investment. This certainly is not the sense we have of political affiliation in the urban middle class families or in the civil society, which is perhaps more uniform. In both rural and urban cases, cadres now oversee the mobilization and the CPIM has the best managerial crop of cadres, with a highly developed surveillance mechanism that tally votes at the household level. It is then all the more intriguing to see how new techniques are emerging to slip through this totalizing mechanism in a way that can disturb our sense of what is ethical. That is precisely the problem of citing a substance as ethical and its absence as lack of ethics right away. We are looking at a shifting ground the moment we step into the political. This shift, which constitutes the new political move, may have acquired three features worthwhile to note: Firstly, it is not about aberration and correction of human nature, like a progressive self-critique of society. Secondly, it is increasingly turning less towards knowledge or an ideological narrative and more towards audacity and taking risk as the crucial political assets. Thirdly, it is becoming attuned to a gaming sensibility with regard to capitalism, which follows but also bends rules in a way that carries a process beyond the intention.

Prasanta: In more radical spheres there is always this issue of governmentality as a by-product of Enlightenment that has to be purged from politics. Existential issues have always been an important factor to the thinking left who have never trusted the ruling party. And yet I have some misgivings. Notice, for instance, Dilip Simeon’s point in a private mail: “It gets more complicated. Cabals always have an exoteric versus esoteric sphere of discourse. In inner circles, they will admit wrongdoing. In public, they might confess to a ‘mistake’. But—and this is crucial—the wrongdoing is always an intellectual error. It is never a moral failure, because Science is beyond ethics, and scientists separate truth and reason from the notion of the Good.”  The basic issue is to question politics as a science or vocation. The whole idea of intellectualism is being shunned as non-ethical, corrupt per se. I find that quite disturbing simply because it might lead to a common sense notion of ethics that will demand a far stringent language of dutiful passivity. I would rather argue for a democratic space where the angst is thrashed out in public, not internalized.  It is interesting to see that that ruling left is now using Vidyasagar, its bete noire for decades, in order to legitimize an anti-enlightenment scheme of accommodating ‘religious right’, after the Taslima fiasco. This is the danger of indulging in an anti liberal metaphor too doggedly. I think, such reactions make it all the more necessary to spell out the tenets of this new ethics that everyone is talking about, so that it is not hijacked by opportunists and right-wingers. What is your sense on this one?

Rajarshi: Instead of opposing in toto it is better to study governmentality, not simply as a product of the Enlightenment because there may be many kinds of governmentality, if that means flexible strategies of rule over a population. But there is a specific subject and specific ways of subjectivation given to a particular system of governance, which we must realize rather than taking subjectivity and governance as mutually opposed terms. In other words, let us not think of looking away from governmentality to existentialism, but look at their conjugation–how certain governments need to create certain kind of subjects. I think that becoming a particular subject is aligned to a kind of docile subjectivation, which is related to being ruled and living in a particular government without any fuss. The knowledge of other forms of governmentality may feed into possible resistance by multiplying the forms of subjectivation, though some might set store with complete ungovernability. This can be the topic of a longer discussion if you want. But I am tempted to read the mail of Dilip Simeon differently, keeping the word ‘cabal’ side-by-side with his gloss on ‘Science’, throwing up a ‘cabalistic science’, of deceptions and subterfuge. This drift is not anti-intellectual or anti-science but opposed in a way to their basic abuse, to collapsing science and ideology in order to justify a Left party’s violence on the peasants, by some Left stalwarts, like Professor Prabhat Patnaik for example. I feel much of the reaction we are looking at is bound to have a neurotic edge, especially for those who have taken Marxism seriously, on both sides of the Nandigram issue. However, Vidyasagar has never been the bete noire of mainstream Left, but of the Naxalites. The CPIM admires the full range of the ‘Bengal Renaissance’.

Prasanta:  This also leads to the question of goodness, and here I think we might agree that there is a large section of people in West Bengal who are strongly interested now more than ever in rising above the contractual language of the market place, the party dictates and the metaphors of ‘spontaneity’ and cycle of violence. What then constitutes a modicum of goodness around which people might feel secure and politically rejuvenated? The question of goodness often inevitably leads to an Aristotelian schema of polis or a Gandhian pattern of austere and self-disciplined life. Do you envisage such alternatives in West Bengal in future? Does such a language of virtuous citizen not clash with the neo-liberal aspirations of the middle class? Also, given that the various political options are not in a terrible hurry in such exercises in ethics, is there scope for pushing the idea of goodness that will have electoral or other fallouts?

Rajarshi: I will disagree with the notion of ‘modicum’ because it reduces ‘goodness’ to the minimum needs of survival – finally a promise, often not kept, of protection against untimely death. It does not extend to what might be called different ‘forms of life’, but makes mere survival the only thing that rights are good for. That is again provided one is capable of wielding the language of a rights-bearing individual and access the law. At the same time, the individual is free to experience the absence or presence of goodness in the place everyone must belong to, the market. And is not the might of modern capital precisely a concurrence of opposites? Does not one miss goodness more in the market? Do we not obey immoral power freely? Let us look around to recognize how goodness can be objectified, into consumption affect and commodity, into wicked and sacred relations, into prosperity and hardship in lifestyle, into the basis of coercion. I think the opposition between the neo-liberal middle class individual and a virtuous citizen stands overstated if virtue is to function as a therapy for individual – a homely supplement to the commodity calculus. Why should we settle for a ‘modicum’ of goodness, when the ethical demand is potentially infinite, as many philosophers point out? Unless we let go the proper subject, the cultivation of a particular personhood, the lifestyle that has it all, the ethical will not come into its own. Can we discover wholly new modes of sociality instead that disrupts the economic use of the ethical of plugging the leaks of individual citizen?

Prasanta: All power is immoral by definition. We must build in that aspect in any discussion on ethics. A classical definition of goodness cannot be too quickly equated with the language of rights and market, as also with therapy, I would tend to think. The votaries of John Locke and Tom Paine are fundamentally different from those concerned with a radical agnostic and heretic demos. The very imagination of the polity in case of democratic agnosticism is other-regarding, to begin with. A certain notion of ethics of religion (non-Kantian) is a strong component in democratic republicanism, rare in moderate- mainstream liberalism. Unfortunately, well-meaning and self-conscious radicals in the subcontinent exploring political novelty routinely conflate the two rather hastily. One must rise above the old commodity argument if we are to act meaningfully against the common economic consensus across political spectrum that threatens us today. This is not to say commodifcation is a bygone phenomenon. Far from it.  I’d begin by bringing back a radical political, rather than submitting to a commonsensical economic definition, (the lifestyle question, as you have put it) of liberalism onto the table. That might seem minimalist to you. But, at the risk of repeating myself, can I ask you about the nature of this infinite that you refer? Contrary to a therapeutic virtue, what would constitute these new modes of sociality?

Rajarshi: I don’t have a ready response to your question as I am still working with these ideas, but let me say how they have a bearing on our dialogue. Who are the ‘large section of people’ you think are interested in rising above the language of market place? How big are they with respect to the people who can’t enter the market or who don’t understand its language, though they are part of the market? Would these latter sections agree with the idea of goodness that rises above the market, and reject the practices of corruption that open up the consumer’s rank? Can we ascertain if they already lack a sense of discipline, if they are seeking a new subjectivity? Unless one assumes a total transparency of representation, and a vanguard sensibility like Marxists, it is difficult to answer these questions. The universality of goodness is conditioned by the particularity of experience in every empirical case, and I don’t think it loses this finite character even if we can reduce it to a common minimum index. Like the idea of ‘population’, that will amount to aggregating ‘individuals’ in such a way as to look at them in a series and therefore without their singularity, without contradictions, transgression or reasoned differences, let alone any sense of outside. There will be some exceptions decided by those who agree on a certain role of capital, certain modes of power and certain ways of living in the society. Is the ethical sustainable along these lines if we take the question of the ‘other’ seriously? Who decides about the inevitability of only certain forms of social relations like the family as legal, the ethnic community as natural and the territorially bound state as democratic? With regard to these formations I would like to invoke other forms of sociality that make the individual volatile and slip into what one could see as the multitude. The multitude is a different concept that cannot be realized around a modicum of goodness or virtue. For it does not suppose a doing subject but a subjectivity of witnessing what are the ways of being different from an individual self. The implication is that we look at lives beyond the pale of self-fashioning, to submit our basis of thinking about ethics to what we have not experienced but are still able to think. Is this not how we think of margins, of difference and others, how we want to be free? How does one think of new forms of sociality with regard to the multitude? It may be a shift to the register one may call minor after the work of Gilles Deleuze. How the minor will relate to new modes of sociality could be taken up later, if you want to separately bring up the relation of politics and aesthetics.

Prasanta: Many insightful commentators are also arguing that Nandigram and indeed Singur are not to be seen in isolation. Rural Bengal is seething with discontent. This could well be a recipe for disaster is the long run—could lead to a spiral of sorts. The ruling party consolidated earlier land based peasant claims and backed these up with sharecropper registration in the state. Land has been an important point in Bengal politics. Yet, an even more fundamental issue has over shadowed the question of land: hunger. The food riots in Bankura and Purulia of the last few months have amply shaken the ruling front. In a recent article, Mahesh Rangarajan has commented thus: “The non-availability of cereals in the ration shops angered large sections in a state where official records show about one in five rural people are hungry or malnourished. This again is ironical for in the 1967 elections that saw the CPI (M) emerge as a co-sharer in power the first time, the food issue was paramount in adding to its appeal.”  Do you see this essentially a failure in governance? Or does it also have an ethical dimension, for ‘hunger’ is one point around which even the most doctrinaire of Marxists would rally philosophically. This is surely not a civil society issue. Is it then a failure of ethics at the most basic economistic level for the ruling front?  

Rajarshi: Perhaps the CPIM is not too bothered with the daily lot of working class and the peasants in this state now, other than as population it must govern as constituencies. However, I don’t think Singur and Nandigram reflect the rural West Bengal’s attitude in general. There is of course a serious problem as agriculture apparently has reached a ceiling in terms of economic growth and capacity to generate profitable vocations. At the same time, the CPIM’s partisan style of administrative decentralization has given a rather restricted character to local governance and development in the villages. But rather than talking about hunger and land question as symptomatic of CPIM’s ethical drawback, we might have a better picture of what is going on by thinking if it is a phase of primitive accumulation of capital. That will help us to situate CPIM’s politics with regard to globalization and the larger governmental imperatives of this juncture. The brutal destruction of extant resources could be necessary for a new imperative of generating economic energies, which is so impersonal that human cost ultimately does not matter. There are techniques to make it invisible. The CPIM’s failure is the stark visibility of this human cost in Nandigram, unlike say in Rajarhat. Again, this could be another long discussion. There is a new book by Kalyan Sanyal on this area that Partha Chatterji has discussed in a recent article on postcolonial governmentality.  However, neither this discussion, nor the new kind of studies of everyday rural politics appears to address the ground that ruling communists are gradually losing in the state.

Prasanta: You are right. Primitive accumulation seems to be a plausible explanatory paradigm, as discussed by Kalyan Sanyal in Rethinking Capitalist Development: Primitive Accumulation, Governmentality and Post-Colonial Capitalism. But I would tend to think that such a situation has a strong ethical component associated with it, something that primitive accumulation approach does not address fully, in two related senses—one philosophical and the other sociological. Primitive accumulation in its pristine sense is the means of divorcing the producer from the means of production, right? The robbery of the common lands and usurpation of clan property into modern private property under circumstances of reckless terrorism is directly connected to enclosure movement in early modern Europe, a variation of what we are seeing in changed global circumstances today in India. I would think primitive accumulation itself is constitutive of an ethical move: from an ethics of community to that of austere self-discipline. Hindu rate of growth and local ties and affinities must give way to a Weberian ethics of possessive individualism. It surely is impersonal and yet the ethical shift is not lost upon us. Certainly, the welfare entitlements to labour law provisions to provisions for community review of land use decisions that the State now shuns has a civic dimension embedded to it and hence a particular ethos of living associated to it. This is changing in the era of primitive globalisation and subnational mercantilism, if I may borrow a term from sociology, to denote what has been happening in India of late. There is no sense of concomitant international economic integration. Such State fragmentation inevitably fails to suggest sustainable forms of social action and hence thwart innovative modes of governance. But there is an ethical loss in this shift too, in the sense that severs cross-class, cross-race, cross regional and intergenerational social exchanges that stand in the way of short-term economic activity.

Rajarshi:  I largely agree with what you say here. Why don’t you expand on the possible parallels between the enclosure movement and primitive accumulation today?

Prasanta: Again, conditions for enclosure movement in medieval/early modern Europe and today are largely different, so drawing of a parallel may be hasty. But certainly, there are configurational similarities on the face of it. One would then often speak in terms of ‘agricultural revolution,’ apparently marked by indicators like increase in productivity. But dwelling on other indices like land use or labor productivity would not also mean much without connecting them to issues like the establishment of private property rights in land, the replacement of feudal tenures and estates with leaseholds for a period of years, changes in the size of the farms, and changes in the ways in which people were employed by others on the land—issues that are creating similar problems in Bengal or Goa right now. One is simply overawed to notice over a few centuries, beginning the sixteenth may be, how copyholders and other unfree tenants are gradually being extinguished out of their common rights by royal and parliamentary enclosures. Land and, really a way of life, were thus enclosed in piecemeal landholding schemes. Sure there were resistances: ranging from direct non-payment of rents and stopping labor inflow to the more hermeneutic, religious and eco-ethical approaches. Intersubjectivity and common preservation are often constant themes in such movements. But once again, the central problem of radical reformation was that its Old Testament ethical core of virtuous simplicity and righteousness could never be translated into a vision of politics because it was at heart challenging governmentality without providing a coherent alternative. Sheer anti-privilege, anti-prerogative prophetic pamphleteering failed to get the broad middle rally along with it against the developmental schemes of monarchy and especially the parliament. That is the similar problem that besets us today right—how (or is it at all possible!) to cohere the ludic and the civic, against the ruling left? The deluge of broadsheets and blogs that deal with subjectivity issue as a bulwark against the economism that marks organized left is astonishing, and yet the broad middle is not sufficiently enamoured by such purity, such righteousness.

Rajarshi: Perhaps our problem is more complicated. The West Bengal CPIM in fact represents a very successful translation of an alternative type of governmentality, supported by the ‘broad-middle’ who believes in a progressive ruling power. The CPIM has combined in this regard the meta-critique of capital with the advocacy of capitalist development. Having delivered the pro-poor land reforms it now must reclaim the farmland for a pro-rich industrialization. So where is the ‘broad middle’, what does it want? It wants the government to pursue land acquisition with minimum violence, and it wants the protestors to be more practical. For the broad middle is on the threshold of a new “cosmopolitan” lifestyle – shopping mall, big housing, big business and cheap family cars are on their way. Is any party likely to oppose the trend and expect people to vote them to power? No. That renders any resistance outside the pale of an electoral majority that gets to decide which ways of living, which ways of doing and speaking are essential and adequate for everyone. Such decisions must totalize life into governmental subject and politics into sheer disciplinary power. But are there no other ways of being and of being political? Can there be alternative clues for politics in cultural practice?

Prasanta: I must say I am hopeful about a section of the middle, in spite of its routine capitulations. May be it is not as homogenous as you suggest. Anyway, moving on to cultural practice, you have been working with a certain kind of imaginative literature, and given that a large number of creative people have come out in the open for what is essentially a political battle, do you think there is a possibility of aesthetics positively influencing politics in the state? I am asking this advisedly because among the many habits that have engulfed the Bengalis, the one in the field of aesthetics is most stupefying. Surely, there have been new literary experiments which have political ramifications—the names of Nabarun Bhattacharya and Mihir Sengupta—come to one’s mind immediately. A couple of young playwrights have also come up with powerful political allegories against the prevailing power structures. And yet they still have a cult following, unable to make inroads into living rooms of the Bengali middle class. The contemporary language of protest and spontaneity is yet to be transferred into any meaningful constructive ethical language. Are we then to return to old masters for direction? What is your sense of the ethical component in literary writings and art that can catch our imagination once again?

Rajarshi: Let me return to where we left the discussion on the minor register and new modes of sociality, which is useful to probe a productive relation between aesthetics and politics. Creative practices always carry serious concern about justice, which rises to the surface only in some artistic exercises that directly engage radical and progressive ideas. Both nationalist politics and vernacular socialism have had major exchanges particularly with progressive literature, along with art and music in the undivided India and Bengal. However, these exchanges were not identical, ranging from simple propaganda to criticism to offering new epistemological frameworks. Simplifying largely, one may find that much of the political role of these practices has been understood in terms of what the actors thought they were doing. Yet, this is not the only way of looking at the politics in art. There is another level at which the symbolic investment in art practices embody the politics of a period, which relates to a larger process, in a less apparent way perhaps. A different kind of intervention can be located here in some works that make certain aspects and things visible which are otherwise unthinkable in the dominant sensibility of a time. It is here that we observe new relations emerging into the field of reasoning that cannot be added to the given framework but demand a total reorientation of the subject. A major difference in the way it appears in a writer like Nabarun Bhattacharya and the avant garde authors of yesterday is that there is no more a speech of the protagonist. The narrative is not about ‘what is to be done’ even if it is eminently political in that it is not about placing the missing norm but about displacing readers to testimony from margins. This is often how artistic efforts that work, for example, with the dalit question and that of sexuality can be seen ‘doing’ politics, through a strategy of witnessing, as underlined in the case of Vaikom Muhammad Basheer in Malayalam literature. Let me give an example of how it may conjure a new form of sociality from another area. The example is from an autobiographical writing of a Bangladeshi author, Ahmed Chhaffa, describing life in the new rented flats in the late twentieth century Dhaka, where one is pursuing literary work and activism for the left in Bangladesh. The writing, however, sews this life with small anecdotes of gardening and cultivating aubergines inside the university campus, planting trees and meditating on the form of life that trees represent. In course of these activities, Chaffa discovers some professors who share his passion and teach him the tricks of cultivation, and some who make fun of it. A new kind of community-founding gesture takes place, which undercuts the distance between the urban literary intellectual and them that are not. The political implication is a subtle multiplication of lifestyles and subjectivities, an awareness of the shifting of values that make up the new morality, and a circumspect meeting with the powers of representation. I think this is where aesthetic works can open up new ethical grounds before politics.

Prasanta: Since you have drawn a thread between new modes of sociality and what you call the minor register, let me mark that while I concur with you on imagining in terms of the multitude while working within the parameters of democracy (which itself is a relatively new experiment in historical terms), I am slightly hesitant about relating the subjectivity of witnessing the variegated ways of existence wholly with the minor. The idea of addressing the margin and the different are powerful indicators of a radical democratic imagination but you will agree that fetishizing them have often have led another kind of universalist logic which in turn leads to mistrust and politics of retribution on both sides of the divide. History is replete with instances when the idiosyncratic margin, invested in liminal motifs in search of a radically new political language take either an inward, contemplative turn, or an outward, all embracing skeptical position, or at times both, so that it rather suicidally manages to blunt its own radical edges. This is not to deny that art is all about the variegated, the joyous and the suicidal! It indeed is. Rather that these inclinations toward fragmentation and difference may well do with a subtly constructive component; the best of utopias do hover within such a domain of hope, the not yet.

You will probably agree that certain conspiratorial views, which see the aesthetic merely as a domain of ideology (the Lukacian line leading to Terry Eagleton, for instance), are self-defeating. On the other hand, aesthetic breaking out as a Marcusian formula for universal human emancipation often prove to be rather cultist and quick, an impetus that have had powerful votaries in Bengal right from Swadeshi days till date. I would like to go back to your earlier thrusts over a certain gaming sensibility and courage. It sounds instructive to me that a political actor is at the same time taking a courageous step (of distributing the family members into rival camps and hence making the decisive choice of standing up to the party statistician) and on the other, practicing an evasive, slippery gaming sensibility (which itself could be either calculative or creative). There is almost a helical interdependency between the moment of decision and the moment of escape here, although you have not put it that way. I believe that imaginative artists who dwell within such risky eschatological framework also probably show an elusive gaming sensibility and at the same time take certain resolute, courageous actions via the tools that he often fashions on his own. And in the best of political artists, this dual gesture, though often challenging the reader via certain shifts and adjustments through unfolding of the narrative, does not necessarily fall headlong into romantic nihilism or moral relativism. In a related way, I think it is the greatest paradox of utopian, prophetic political thinking that it derives its strengths from a fierce intellectual pessimism and yet is metachronic, hopeful about the future.

One pivotal idea in poet William Blake, for instance, is that of ‘honest indignation,’ at things commonsensical and cautious, creations unnourished by love, inspiration, vision: in short, things that hinder and distort perception of the infinite. The voice of the infinite addresses such social and political distortions in Blake. And he works from within the visionary imaginative expansion of the senses, but not letting off perception. The indignation is acutely political, deeply aware of the human material circumstances, and not pious. Reason and energy are coupled in a free dialectic. And hence he manages to avoid playing the vanguard mystic, a know-all saint with his nuggets of wisdom to dispense, you know, the familiar kind we often have met in swadeshi and far left terrains, asking acolytes to be passionless and ascetic. In Visions for the Daughters of Albion, for instance, he links economic oppression, sexual repression, priestly manipulation of power, and militarism in a superb critique composed in a most clear, limpid prose. The world of suffering meets with that of simple indignation. And, the mocker of art is the mocker of Jesus.  How effortlessly could Blake say “The Prophets Isaiah and Ezekiel dined with me,” threading himself in line with Job and Boehme, Milton and Pascal, Hopkins and Dostoevsky. No doubt, with what you say, I sense a soulful structural connection between Chhaffa and Blake here—both actually disturbed by what D.H Lawrence would call, ‘a tragedy of ugliness.’ An aesthetic that mediates with birds and aubergines indeed gives me a Learesque sense of trying to bridge the primal with the political, a sensibility that, if you allow, I may call classically romantic. I wonder though, do these ruminations of art and the political, the kind we are discussing, not have a touch of Fourier and St. Simonians?  I mean, even as we dwell on the political, the artist and his art object, do we not need to address more forcefully the politics of it all? Are the prophetic, the utopian, the ur-romantic in art foredoomed to hover in the domain of the political, neatly getting around blood and grime?

Rajarshi: If politics left out domination we could do without margins; similarly, there would be no difference if politics did not impose an order. But insofar politics is the domination of a particular order it is equally about the creation of margins and difference. It is how the relation of power operates, fetish or not, which does not become visible of its own accord. We need the reflections from difference and margin precisely to bring this operation of power into focus. These words are not really new sets of ‘subject’ or ‘object’, but describe the relation between the subject and object – showing their syntax in our perception. They help to problematize that politics, in other words, which is resistant to electoral changes as well as rapid radical disruptions. So they need to trouble the very matter and representation of ‘politics’, especially in the way it leads us to construe life. It is this grammar telling us that the despite political indignation Blake was writing poetry and despite religious rhetoric Bush was making a political speech. We must realize that politics is also, as Jacques Ranciere says, a ‘framing’ of perception – a way of partitioning what is perceptible from what is not perceptible in the experience by our senses. It means that politics will obscure certain areas of its power through epistemic protocols. To perceive that of course involves another ‘framing’, but also the awareness of the intrinsic problems of ‘framing’. Since no ‘framing’ can offer a picture of the whole, it cannot be expected to recommend an ideal state of justice with regard to class, caste, gender and race all at once. It must be a variable framing in relation to what is being repressed in a particular hegemonic system. We need a very supple construction to see that alternatives are always a possibility, without digging up a final theological solution of sorts. That is why the reluctance to dwell on a messianic moment or to forecast a ‘utopia’.

Working within the parameters of democracy, as you said, as an ethical horizon, if I may add, there is a utopian dimension to daily small interventions, but in a different sense. It is not a specific blueprint of future that gives the hope to keep on suffering. Is not the not-yet fairly dated in that sense, having to keep to a promised format? Democracy however offers other possibilities, where new senses of a better future can become an orientation, the basis of an ethical responsibility to the present. Even if such a future is unrealizable in the strictest sense, it does not fail as logic for intervention. Let us consider, for instance, what kind of utopia motivates feminist politics, which could very well appear unmarked by blood or grime regardless of unremitting violence. Only a different ‘framing’ will render this violence visible and the resistance meaningful, which is not, let us note, about an alternative governmentality. The utopian dimension is not a given outcome, if given at all, but rather like the practical basis of a judgment. Its relation to ‘consciousness’ is not like a belief in the ultimate nature of human beings and their fate. There is a meta-humanist framing in the latter case, which renders the role of capital and technology basically as ‘de-humanizing’, alienating from our ‘primal’ nature, which poetics seemingly wants to recover for politics. This is where critical theory is often tempted to take an existentialist turn to authenticity. But I want to insist on another ‘framing’, which takes the role of capital and technology precisely as ‘humanizing’, and poetics as a way of ‘de-familiarizing’ this human being, making it accessible to politics and philosophy in new ways.

We have been touching too many points here, sometimes fleetingly what deserves a separate discussion altogether. But if I try to recall our points of difference once more at this stage, a good way of putting them is how we posit the newness of the moment. You seem to argue that it presents a major break in the given forms of politics by throwing up an ethically motivated section of people who can create through civic practices a much more democratic form of self-governance. Their efforts stand to be enriched by tapping into a radical stream of republicanism, but you suspect that even they might fall prey to power. My guess is that they would, and there is no foolproof plan to prevent this beforehand. I see the newness of this moment in our chance to overcome this vain project, of trying to narrate politics around a subjective economy of self, which will logically ensure goodness in the society. I find it hard to believe that politics will simply be a means to this kind of self-making end of a good society, which is often the image of a politics looking for moral legitimacy.

We need to consider what such a selfhood and identity conceal in its naturalness – the given order of difference, the context of exercising power, the premise of making law for the others. The truths about self and goodness, spoken by such operations, come to rest very often on a vague understanding of the ‘growth’ of an ethnic community, a region and the nation-state, whose rise and flourish must be that of global capital ultimately. So I would see the newness in turning away from the humanist emphasis on subjectivity and morality as a foundation for grasping political practice. In fact, there is a new and exciting emphasis on practice in some very recent works, like that of Srirupa Roy, moving away from the frame of subjectivity imagined from below. Also shaping up is a new kind of history of ideas, for instance by Benjamin Zachariah, underscoring class and cosmopolitanism of the post/colonial subject, opposed to a deep vernacular sensibility. I feel such works represent the translation some of us are looking for between theory and practice, clearing new fields for intellectual politics. But I think it is also necessary to pursue the questions of self and good life beyond the humanist framework, to see how the ethical could emerge in forms-of-life that are no use to the prophet or the nation-state, yet essential to biopolitics today. You may have different things to say to that.

Prasanta: There is no doubt about the newness of the moment; in fact, that is what prompts us to this dialogue, right? But one must realize subjectivity is one important but finally limiting cog if we are to conceive the political, especially considering the highly structured and ruthless climate that the organized left is functioning and the equally polarized manner the far left and right organizations are responding. Let me then slightly modify your delineation of my overall position. Modern art and literature have shown an inherent tendency away from classicism in perfection of form toward romanticism in concern for feeling that overrides form. So, as a whole the object of modern politics may be seen as a drive to consistently push for differences and margins as extra-constitutional democratic forces that may overcome the restraints of the state and its machineries. Hence, the demand for more subjectivity and creativity. I am rather convinced that while informed romanticism is necessary for plotting politics, to consider politics bereft of human intervention—via a benign nature or theodicy for instance—is to turn away from democratic politics in crucial ways. In fact, we are bound to revert to moral legitimacy unless we consider the political in its own terms, without sentimentalising. Machiavelli’s one great contribution is his intense concern for forms that must be made and remade by learning how and when to introduce innovations. The idea of political innovation in the face of overwhelming fortuna, say the kind of organized left-liberal machinations that we are now discussing, may be akin to what you are calling a gaming sensibility, but I am of course talking from within a dialectical framework whereby selfhood need not be radically decentred. Your idea of framing and orientation by not delving into transcendental politics is also highly interesting in this context. But right now one of my primary concerns is to understand politics as a mode where innovations, having a utopian dimension, are married to prudence. I am belabouring the point that such civic-agnostic prudence cannot afford to be ethically neutral if is to tackle the unleashing of the mercenary statism that we are discussing. Could we conceive the growth, stability and imagination of West Bengal in a different way rather than relinquish the issue altogether as one more hegemonic schema of the nation state paradigm? In this context, you will recall Tagore’s critical exhortations on Gandhian charkha politics in the sense that in spite of his praise for the innovation aspect of such symbolism, he is scathing on the shortsightedness of the prudential side. Tagore is certain that such a miraculous moment of a wholesale conversion stuns our mind and eclipses our judgment, raising high hope of easy realization that is very much like the boom in the business market. So, Tagore, the arch romantic, is loath to take that extra step and espouse rabid anti-modernism and politics of miracles that the charkha might spawn. This seems to me to be a considered political position. In other words, a realizable utopia could possibly use the realism and dynamism of modernity by accepting the romance and myths of the ancients and vice versa. Adorno and Horkheimer saw this possibility long ago. I am then much less doubtful than you would allow about the possibility of a radical republicanism in Bengal at some point. I think it can at once flummox libertarian statism and chisel sectarian breakaway politics.

Rajarshi: What if we asked did Rabindranath Tagore do a prudent thing criticizing the charkha? Certainly this criticism did not generate an alternative stream of mass activist programs; it troubled and qualified the existing ones. Then was Tagore not, deliberately, undermining nationalism? It is possible to think that he was undermining at the same time that he was supporting it in this odd way, an intimate disagreement that is both uncompromising and fraught with misunderstanding. That will be my way of looking – a critical and oblique relation to ‘the politics’, making an eminently political gesture – that anticipates the changing sense of ‘the political’ we are probing in relation to aesthetic works. But this is not really going to explain or influence the results of an election, because such gestures are unrecognized in the institutional forms of politics as yet. Whether we talk about ethical questions or aesthetic interventions, as you said, their implication for the institutional forms of politics, like votes, remains a difficult question. Part of the problem is the electoral and chiefly administrative preoccupation of the institutions, which highlight public legitimacy and ‘representative’ aspects of democracy over its ‘deliberative’ practices. It is here that the picture of the state accumulating capital is cancelled by the picture of the state distributing welfare, making development policies. The ‘representative’ institutions are not unwilling to expand in the grassroots – the panchayat is an example, but they simply don’t encourage deliberative participation. One can vote or not vote, but there is no space to weigh up the nitty-gritty of a policy, to discuss if elections are good enough to decide on a new economic policy, to ask if votes have not become like an insurance, to ask which people are casting votes out of compulsion. If we are witnessing new civic practices by an ethically motivated section of people, as you say, the challenge for them is to create spaces for such deliberation that can generate new institutions of participatory democratic practice. This is perhaps where we the need the element of innovation to the utmost, not only to tackle the censor of deliberative gestures but also to perceive the changing form of the political. One of the most interesting aspects I thought in the civil society’s reaction to Nandigram was an arguable absence of the political act in a theatrical mode – staging oratory and performance. There was a sense of conversation in relative silence, a sense of using new technologies like the media, mobile phones and internet, and a sense of anonymous communities formed across party loyalties. Is it possible to see such communities becoming a new civic feature, as basic to the exercise of citizenship, as a new form of democratic participation? Is it possible to see such community-making gestures as new kind of political act – that signals a movement of the disenchanted to reshape democracy?

Prasanta:  Yes, coming from different directions, Tagore as well as a quasi-mobilized civil society, both abhor histrionics of a certain kind, keeping safe distance from tearjerking staging. This is instructive. Tagore’s point to Gandhi stems from a humanist’s dislike of sentimental nationalism, not nationalism per se. An aesthete’s dislike of garishness too is involved. Tagore has always been sceptical about absolute alternative systems, especially if mass leaders hobnob too much with pure transcendence or rituals, be it Gandhi or the swadeshis. He will then, as you rightly suggest, even take the risk of undermining ‘questionable’ strands of nationalism. The institutional experiment of Vishwabharti is formally and fundamentally different from Tolstoy Farm or Sevagram in this sense; it finally builds up over an immanent frame rather than take to mobilizing aesthetics or politics around any renunciatory platform.

One must be on guard though, that such immanent moves, stories of human flourishing, especially conceived by a lesser player, can quickly turn into uncritical celebration of rationalism within anonymous private spheres, whose formal manifestation would often mean holding on to some kind of constitutional patriotism, to borrow a phrase from Habermas.  It is constitutional, because one would rally around legal moral principles, but it is patriotism because we are fiercely attached to our particular historical project of realizing these aims. This easily generates chauvinism of a certain kind, familiar in our times in such metaphors like “largest democracy,” “cultural superpower” or “naturally multicultural,” and certain feelings of smug superiority when we look at some unfortunate developments in a nearby country. You would recall not long ago West Bengal had famously been imagined by the ruling front as a peaceful haven, an oasis of sorts, the state’s rule of law being favourably evaluated to other regions, until that very idea of ‘law’s empire’ was quashed by deploying the friend/enemy distinction even as parts of East Midnapore was handed over to organized mercenaries. Decisionism prevailed. Shall we call this uneasy cocktail constitutional provincialism?

The kind of issues that we are discussing, on the other hand, probably offer a different poser: how to translate political gestures and innovative strategies into meaningful institutional practice, avoiding at once constitutional and theological choices that are being offered. The conundrum lies in the fact that political structures need to be checked if not adjourned, and yet one cannot do away with structures altogether. A purified non-code or a transcendental non-structure, ruling forever, is a noble chimera, an exercise in trompe l’oeil. And yet, one suspects, especially after the recent panchayat election results in West Bengal, that other options and coalitions may have surfaced, and the cue is being provided by the demos, not the other way round. The point is that such options might not remain democratic in the sense that we are talking as long as merely remain deliberative in the communicative sense. Civic introspection can ill afford to remain procedural.

The possibility and institutions of self-government is at the core of a democratic civic world that I have in mind. And it is not as much about directly participating in the institutional processes as being eternally vigilant in the face of despotic encroachment. This idea of vigilance against political equilibrium, which goes beyond mere constitutional procedurals, had long vanished from Bengal. Whether we are witnessing a resurgence of such a mentality is an open question, but in a vigilant community, a public network of decision-making that will be deeply subjective in its core could offset discretionary decisionism. Mind you, I am not referring here to middle class vigilante media and judicial activism that we witness on television. But a subjective condition rather, a constant watchdog mode that cuts across class, caste and the urban/rural divide—leading to the kind of anonymous conversations and new communities that you refer. Legislative processes themselves will be affected if such a mode takes a sustained public dimension and may discourage back room bargaining on the basis of sectional interests, at least in the short run.

The complementary component is to realize that our ability to marvel at the micro-orders of creation—nature, art, grace—go hand in hand with the idea of secular civic liberties.  May be this sense of a larger cosmic order going beyond party or community or regional loyalties or even humans can provide institutions, even in a modern democracy, with a sense of durability, however contingent that might seem in the immediate present. And relative silence, as you say, is a good beginning I’d think. Silence is dialogic, not communicative. Silence is meditative, and hence masks ludic potentialities.  It could well burst out in new civic relationships.  But I also notice a shrill noise beneath. Who knows which way things might turn! This developing political platform might well be a ruse, though now with possibilities. But for the time being, this silent unrest may remind Bengal one more time that the representatives are but people’s creatures.

  

Selected References: Prasanta Chakravarty                                                   

Kenji Mizoguchi, Sansho the Bailiff (1954).

Sankha Ghosh, Andher Sparsher Moton: Pranabesh Sen Memorial Lecture 2007 (Kolkata: Gangchil, 2007).  .

Aristide Tessitore, Reading Aristotle’s Ethics: Virtue, Rhetoric and Political Philosophy (SUNY Press, 1996)

J.G.A. Pocock, The Machiavellian Moment: Florentine Political Thought and The Atlantic Republican Tradition. (Princeton: Princeton UP, 2003).

Mahesh Rangarajan, “Crisis of Legitimacy for Remorseless Bengal Left.” Mail Today, (Delhi, 26 November 2007).

Kalyan Sanyal, Rethinking Capitalist Development: Primitive Accumulation, Governmentality and Post-Colonial Capitalism (New Delhi: Routledge, 2007).

Raymond Williams, The Country and the City (Oxford: Oxford UP, 1975).

Andrew Macrae, God Speed The Plow (Cambridge: Cambridge UP, 1996).

Ernst Bloch, The Spirit of Utopia (Stanford: Stanford UP, 2000).

Paul Nizan, Watchdogs: Philosophers and the Established Order (Monthly Review Press, 1972).

William Blake, Visions of the Daughters of Albion (1793).

Rabindranath Tagore, The Cult of Charka (1925).

Anjan Chakrabarti, Anup Dhar, Kathapokathane Marx O Rabindranath: Unnayon O Bikalpo (Kolkata: Gangchil, 2008).

Selected References: Rajarshi Dasgupta

Sa’adat Hasan Manto, “Toba Tek Singh”, Savera 1953, trans. by M Asaduddin in Manto, Black Margins, ed. by M U Memon, 2001.

Ahmed Chhaffa, Pushpa, Brikkho ebang Bihango Puran, 1996.

Mihir SenGupta, Bishadbriksha, 2005.

Nabarun Bhattacharya – Herbert, 1997.

Gilles Deleuze and Felix Guattari, Kafka: Toward a Minor Literature, trans. by Dana Polan, 1986.

Jacques Ranciere, The Politics of Literature, SubStance – Issue 103 (Volume 33, Number 1), 2004.

Udaya Kumar, “Ethics of Witnessing: Vaikom Muhammed Basheer and the Subject of Historical Narration”, in E. V. Ramakrishnan ed. Narrating India: The Novel in Search of a Nation, 2005.

Srirupa Roy, Beyond Belief: India and the Politics of Postcolonial Nationalism, 2007

Benjamin Zachariah, Developing India: An Intellectual and Social History, C. 1930-50, 2005.

Michel Foucault, The History of Sexuality: The Care of the Self, trans. by Robert Hurley,1986.

Jacques Derrida, “Force of Law: The ‘Mystical Foundation of Authority’” in Deconstruction and the Possibility of Justice, edited by Drucilla Cornell, Michael Rosenfeld, and David Gray Carlson, 1992

Carl Schmitt, Political Theology: Four Chapters on the Concept of Sovereignty, 1922, 2005.

Giorgio Agamben, Means without end: notes on Politics, 2000

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Prasanta Chakravarty was then Associate Fellow at the Centre for the Study of Culture and Society, Bangalore.

Rajarshi Dasgupta was then Fellow at the Centre for Studies in Social Sciences, Calcutta.

 

 

 

 

Letter from Advaita Malla Barman

                                                                                                                                                                          

 Gokanghat, Tipprah

 23.6. 34

 

 

 

 

Dear Brother,

I have read your poem a few times, from beginning to the end. I would like to give my comments here. Hope you will not be annoyed. Wherever I found something wanting, or irrelevant in style or meaning, I have marked with a red pen. I have left the responsibility to correct those to you.

About publishing poetry, I can say this much that the poem is not bad at all; in fact quite surprisingly fresh coming from a young poet. Its but still not fully there, not fully fit for publishing, if I may say. So, do not try to publish it right away. Do not get disheartened. Keep on writing. You will make a name in a short while—I harbor such faith and hope.

Here, probably a couple of words about poetry will not be entirely irrelevant.

1.Giti-kavya (Lyrical Poems). 2. Khanda-kavya (Narrative Poems). 3. Maha-kavya (Epic) all vary in style and approach. Your heart and mind needs to be prepared differently for each.

First, you have to work hard as an apprentice on Giti-kavya. Snapshots, a pictorial bent is the soul of Giti-kavya. Try to paint such pictures on the page. Only then get into Khanda-kavya. You may write Khanda-kavya with past or present happenings, but perhaps past is a better repertoire to start with. It will be easier. This is because you can run your imagination ceaselessly and with abandon over the past. You will understand the difficulties with the present—for instance, a blurring and continuity of events that are yet to unfold often is a problem. Future gets in. And we are not prophets.

But do not try your hand on epic. That is a most difficult task. It takes a lifetime to assimilate– first style and then proportion. And needs a fund of knowledge too. Hindu-shastra says that there needs to be at least 9 Swargas in an Epic. You cannot use more than one rhyme scheme. And so on. For Narrative poetry you can collect ‘material’ from Hindu or Muslim mythology or history. There should be an overall symmetry—this you should be truly careful about. Expression and language should be impeccably used. You have that kind of thoroughness and eye—and you will surely be successful.

Nature itself and all around you is a grand granary. For the pictorial, I mean. Try shorter lyrics with minor things and make them connected to the world. Let readers know that nothing is minor. The more you culture these things the more you will become ecstatic with joy and love.

Never follow anyone. Keep your own style, personality and freedom intact, distinct. I am sure you know the difference between imitating and following. You may try a bit of Madhusudan’s blank verse. This is possible until you inculcate your own style. But do not hobnob with Tagore’s transcendentalism or romanticism—those cannot be easily worked out.

I shall conclude my letter with one more thing. Do not get yourself into print without sadhana. And whatever sadhana you do carry on—keep that secret and no need to make any  hue and cry. No fire can be extinguished. Do not hasten. The reading public will come to know about your talent sooner or later. I can say that with some conviction. If you have an iota of faith and love in me, do keep on writing, ceaselessly.

I have tried to relate to you all that I thought of your poetry, as a true friend. Openly. Frankly. If all these annoy you to the least, please forgive me with your ample kindness.

Sincerely,

Yours

Advaita Malla Barman

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Advaita Malla Barman is one of the most significant writers from Bengal writing in the first half of the twentieth century. He died young.This letter was written when he was all of 20 years.