As the struggle against the authoritarian neoliberal regime continues to unfold, the actions of the organized labor-left in general, and the PT in particular, will be pivotal for constructing an opposition capable of defeating right-wing neoliberal authoritarianism. The heightened quality of the political conflict ahead will also challenge the way in which left and progressive forces perceive and develop political action, demanding a left capable of organizing and mobilizing resistance in multiple (institutional and non-institutional) spheres of politics simultaneously.
Ben Lerner’s second Adam Gordon novel, The Topeka School, offers both a genealogy of right-wing political speech and, presumably, an alternative. But insofar as the novel’s politics culminate in political theater, that alternative is reduced to the politics of the status quo. The Topeka School, and those critics for whom its success rises or falls on its ability to provoke aesthetic experience, conflate political experience and political action. While no work of art is likely to do the work of dismantling structures of inequality for us, the work of art that asserts its irreducibility to the “inflexible laws” of the political status quo, and our experiences of it, might provide a new way of seeing or imagining it together—something that the attention to aesthetic and political experience alone cannot do.
It hardly needs saying that the term “decolonize” once meant something wholly different than it does now. To put it not a little too bluntly, in the heyday of the anticolonial movement it was the colonies and the colonized that needed decolonizing, not the colonizers, but now even that need, as we like to say, has been “colonized.” Of course we understand that the “decolonize” in the slogan “decolonize your syllabus” is metaphorical, that it means diversify or “decenter” (as we also like to say), but that does little to allay the fact that, formally, rhetorically, it collapses the distinction between colonizer and colonized. Sometimes, decentering oneself and one’s syllabi means little more than absolving oneself of accountability for the colonial past. Just to give it a name, we might call this phenomenon “colonial narcissism.”
With the Super Bowl set to kick off on Sunday and media-fueled football fanfare ramping up accordingly, it is worth revisiting the NFL’s preseason scandal that wasn’t—its apparent use of biological racism in denying the compensatory claims of black former players for traumatic brain injuries sustained while playing in the league. Here we interrogate this case, the impotence of disparitarian antiracism to confront it, and its implications for egalitarian politics.
Public schools that design curriculum to focus on belonging and social emotional skills are training students for low-wage jobs—and non-ironically calling this training equity and inclusion. Valorizing equity in this way—at the level of feelings—doesn’t only mean pushing aside teaching novels and covering anti-racist art if it makes students feel bad. It also means cultivating a principled indifference to the real wages of the working poor, including those who work for public schools.
While trustees of institutions with large endowments may think they’re guarding intergenerational equity or intragenerational equity (in the form of expanded access in the present), they are really merely mounting vigorous campaigns of wealth accumulation that increase inequality. So why do these universities still have endowments?
By contrast, the wonderful thing about a socialist perspective is that it doesn’t ask you to show your ID papers, to demonstrate your worthiness, to haul out the testimony of ancestors—or even for that matter to account for proximate causes (like whether you smoke or eat pork or drink alcohol and soft drinks). Socialism doesn’t care how you got those comorbidity factors (diabetes, a heart condition, hypertension, etc.) that play an outsized role in the current health crisis. You’re going to get the healthcare you need because everyone is going to get it.
A Federal Art Project mural cycle of thirteen panels devised and painted by Victor Arnautoff in 1936 in a San Francisco high school portrays George Washington as a slave owner and as the author of Native-American genocide. It is an important work of art, produced for all Americans under the auspices of a federal government seeking to ensure the survival of art during the Great Depression. Its meaning and commitments are not in dispute. It exposes and denounces in pictorial form the U.S. history of racism and colonialism. The only viewers who should feel unsafe before this mural are racists.
these positionings continue to have appeal for academics, who are often relatively well-off at elite universities, who have the leisure to pose and play at abjection. Their work distills a schizophrenic desire: they want to run free with the wolves while howling in protest against their exclusion from society. But the authors are in fact very far removed from the lives of the most oppressed and marginalized, who they take as their models and who they purport to represent.
Again: is this Farago’s politics, or is this something deep in the DNA of global art history? Insofar as globalization concerns itself with “subject positions,” it seems clear that struggles for state power and deep changes to the relations of production and the exploitation of labor are not just beyond its grasp but irrelevant to it.