The politics that inform these actions, where not entirely opaque, are based on a semi-spiritual belief that the right recipe of symbolism, passion, and powerful visuals will inspire significant political action that will alter the course of this or that unjust policy or state of affairs. Organizers want to inspire the people who view their protest images on their phones.
It might be a huge stretch for some anti-racists to view Trump voters as something other than “deplorables,” or, rich, white, racists—but, the hope with this case study is that we might stop and reflect on who gains when we write off not just half the country but a large portion of the working class as racists.
The most immediate challenge we face now is to prepare for what is going to be the political equivalent of a street fight that we’ll have to wage between now and at least 2018 just to preserve space for getting onto the offensive against the horrors likely to come at us from Trump, the Republican congress, and random Brown Shirt elements Trump’s victory has emboldened. At the same time, however, we need to reflect on the extent to which progressive practice has absorbed the ideological premises of left-neoliberalism.
Contrary to how he was portrayed in the mainstream media Trump did not talk only of walls, immigration bans, and deportations. In fact he usually didn’t spend much time on those themes. Don’t get me wrong, Trump is a racist, misogynist, and confessed sexual predator who has legitimized dangerous street-level hate and his administration will almost certainly be a terrible new low in the evolution of American authoritarianism. But the heart of his message was something different, an ersatz economic populism that spoke directly, clearly and emotionally to legitimate working class concerns.
Proliferation of this Kabuki theater politics among leftists stems in part from the dialectic of desperation and wishful thinking that underlies the cargo-cult tendency; it is commonly driven by an understandable sense of urgency that the dangers facing us are so grave as to require some immediate action in response. That dialectic encourages immediatist fantasies as well as tendencies to define the direct goal of political action as exposing, or bearing witness against, injustice.
The trivial truth is that what they mean by challenging the operation of capitalist markets (i.e. massive downward redistribution) would indeed reduce racialized poverty, for the obvious reason that (as Adolph and I and millions of others keep on tiresomely repeating) precisely because black people are disproportionately poor all efforts of redistribution will disproportionately benefit them. The totally false idea is that a challenge to racial disparities gets you out from under what Reed calls “neoliberalism’s logic.” In fact, unlocking inherited inequality (racialized or not) and achieving real equality of opportunity (hence more upward mobility) is left neoliberalism’s wet dream.
Free State of Jones reminds us of this core truth of class with respect to labor, whether paid or unpaid—the shared material conditions and shared interests of those who are compelled by force or necessity to work.
A politics whose point of departure requires harmonizing the interests of the black poor and working class with those of the black professional-managerial class indicates the conceptual and political confusion that underwrites the very idea of a Black Freedom Movement. The prevalence of such confusion is lamentable; that it go unchecked and without criticism is unacceptable. The essays that appear in this section will critique this tendency and offer in its stead a vision of what we think ought to be.
My point is not in any way to make light of the gravity of the injustice or to diminish outrage about police violence….However, noting a decline—or substantial change in either direction for that matter—in the rate of police killings does underscore the inadequacy of reified, transhistorical abstractions like “racism” or “white supremacy” for making sense of the nature and sources of police abuse of black Americans. Racism and white supremacy don’t really explain how anything happens. They’re at best shorthand characterizations of more complex, or at least discrete, actions taken by people in social contexts; at worst, and, alas, more often in our political moment, they’re invoked as alternatives to explanation
Our little group of papers, however, is more directed toward what it still makes sense to call the ultraleft: from those who think that Sanders should never have run as a Democrat to those who, disdaining electoral politics, don’t care who runs as what, from those who think that socialism is insufficiently attentive to the particularities of a universe of paramecially fissioning identities to those who sign up for TIDAL under the impression that corporate mass culture is revolutionary popular culture.
The voices from below ring with malicious joy. They do not conceal it; they chuckle gleefully and shout: “He’ll fall in a minute! Serve him right, the lunatic!”
The political farce perpetrated against the Brazilian people on Sunday, April 17, when the country’s national congress approved the impeachment of President Dilma Rousseff is a critical moment in an ongoing class war against the left, labor and the poor. Instead of an exercise in democratic political sovereignty, as the center-right coalition would prefer the rest of the world believe, the congressional vote is a de-facto political coup.
The view that capitalism is a style of thinking, progress is a myth, and political contestation is irrelevant to “true” social change belongs not just to this one book but to all the commentators who found nothing to criticize. That’s the real problem.
In an advertisement, the only intention that matters is to sell a product. All manner of decisions can and do saturate an advertising image, but these are subordinate to the purpose (Zweck) of selling the product. In a successful work of art, all kinds of decisions are subordinate to a larger intention as well; but that intention is analytically identical with the meaning (Zweckmäßigkeit) of the work, so it makes sense to speak of the work as a whole as saturated with intention. As we saw, art-commodities may well bear the marks of industrial processes. A work of art may, on the other hand, choose to exhibit them, which is a different matter altogether. We can tell the difference between bearing marks and exhibiting marks because works of art tell us how to tell the difference, each time.
Everyone involved in this discussion appears to live by the difference between art and life. To my knowledge, no one has suggested that Gone with the Wind is something other than a novel or that Tweeting Gone with the Wind is something other than a work of art. (No reader misrecognized it as a different kind of Twitter account – for example, a moment by moment record of the passing thoughts of Vanessa Place). Nor has anyone started a liberation movement to protect the rights or advance the interests of fictional persons.
But in a world where inequality has been increasing and where the fastest growing jobs are mainly the lowest paying ones, why should we be inspired by a vision that instead of promising to pay people better, promises only to make sure that the badly-paid are not disproportionately black or Latino? And that men are just as fucked as women? It’s easy to see the attractions of bourgeois anti-racism and bourgeois feminism for white women and people of color seeking to establish themselves among the (shrinking) bourgeoisie. From their standpoint we should be as concerned that black, Latino, or female-owned businesses are relatively poorer than their white or male counterparts as we are with the growing power of employers to obtain labor on increasingly exploitative terms.