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How Many Digital Socialists Does It Take to Change A Light-Bulb? A Response to Kevin Kelly’s “The New Socialism: Global Collectivist Society is Coming Online”

From Open Source Software to Socialist Utopia?

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In a fascinating and often insightful article in Wired [vol. 17, no. 6, May 2009], longtime digiculture maven Kevin Kelly makes a remarkable argument. He proposes that the open-source software movement that began in the 1990s out of various attempts to challenge the Microsoft monopoly has, via the broadband internet and the Web, morphed and mushroomed and multiplied into a new form of socialism: “Bill Gates once derided open source advocates with the worst epithet a capitalist can muster. These folks, he said, were a “new modern-day sort of communists,” a malevolent force bent on destroying the monopolistic incentive that helps support the American dream. Gates was wrong: Open source zealots are more likely to be libertarians than commie pinkos. Yet there is some truth to his allegation. The frantic global rush to connect everyone to everyone, all the time, is quietly giving rise to a revised version of socialism.”

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Incidentally, it’s worth adding that Gates has other reasons to worry about “socialism” and “communism.”  A number of leftist governments in Latin America and elsewhere (Brazil and Vietnam, to name two) have chosen to go open source as they update and extend computerization. In this way they have sidestepped Microsoft’s steely contractual grip and notoriously extortionate business model—and saved themselves a mountain of money. Even some state governments in the US, such as Massachusetts, are going open source. So one can add to the peculiarities of what Kelly is calling a “new socialism” that it’s competing in business, toe to toe, with one of the most powerful corporations on the planet… Whoa. I’ll take a step back, for non-digerati who use their computers the way a non-mechanic drives his car, having only a vague notion of what goes on under the hood: what is “open source,” anyway?

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“Brazil: Free Software’s Biggest and Best Friend” (NYT, 3/29/05)

The term “open source” comes from “source code,” which is simply the set of instructions, written in whatever computer language, that makes up a given piece of software. Typically, the source code for commercial software is “closed”—that is, the license says you’re not allowed to alter it, or even copy it except under the terms of the license, and that you must pay fees or royalties for using it. (You’ll find that in the small print of all those gnarly User License Agreements you have to sign before you’re allowed to install the software you just bought.) That also means that the software has been developed in a centralized way under proprietary conditions, whereby the software itself and all the work that leads up to its release is the company’s exclusive intellectual property and the company-employed authors are bound by nondisclosure agreements.

Open source software is released under almost exactly opposite terms. The license says that anybody with the necessary skills can copy, alter, or adapt it at will and circulate the (hopefully) improved version back to the community of users—or even bundle all or part of it with other software. What that user can’t do is restrict other users to whom they pass on their versions from themselves amending the code. And open-source code is almost always distributed free of charge. Much open-source software today is right from the start the creation a widely distributed group of authors, working for free because the code is given away too.

This last point is crucial to understanding Kelly’s whole argument. The web browser Mozilla Firefox is the open-source product you’re most likely to have used if you’re still in the Microsoft or Apple “universes.” But the single biggest competitor to these closed-source companies and their proprietary software is an open source operating system (more about what those are in a minute) called Linux. Since the original source code for the Linux kernel (again, more below) was released in 1991, Linux has been worked on by literally thousands of people and is installed on millions of machines worldwide, including a whole lot of internet servers. It exists in a bunch of different proprietary versions or flavors—but anyone can still take the original code and adapt it.

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The “Cancer” Eating Bill Gates? Linux Booting Up

The fact that so many authors have found and fixed flaws, streamlined code, and generally improved functionality makes Linux exceptionally stable and robust—unlike, say, Windows Vista or countless other proprietary (closed-source) products. For purely bottom-line reasons, these usually don’t have enough programmers working on them to ensure that they’re solid. Also, they’re nearly always released too soon, given that they can’t be amended by the users who purchase them, and who then (in the Microsoft model) have to buy patches to fix the bugs that weren’t caught before release. And again, the vast majority of the people who work on open source products like Firefox and Linux are not getting paid. No wonder Microsoft early on referred to Linux as a “cancer”!

Kevin Kelly’s Four Steps to E-Socialism

Since Linux, the open source idea has generated an entire “culture” and a kind of semi-underground social movement, which has now surfaced in a host of developments. As Kelly continues: Communal aspects of digital culture run deep and wide. Wikipedia is just one remarkable example of an emerging collectivism—and not just Wikipedia but wikiness at large. Ward Cunningham, who invented the first collaborative Web page in 1994, tracks nearly 150 wiki engines today, each powering myriad sites. […] Nearly every day another startup proudly heralds a new way to harness community action. These developments suggest a steady move toward a sort of socialism uniquely tuned for a networked world. Kelly goes on to distinguish the emergent socialism he perceives in these phenomena from “your grandfather’s socialism.” I’ll return later to the version of “your grandfather’s socialism” he establishes as a foil—or a straw man. But first I want to summarize the positive side of his argument. Kelly borrows from media theorist Clay Shirky’s 2008 book Here Comes Everybody a hierarchy of how this socialism evolves. “Groups of people start off simply sharing and then progress to cooperation, collaboration, and finally collectivism. At each step, the amount of coordination increases.” • Under “Sharing”, Kelly cites social media sites like Facebook and MySpace, Yelp and other service and product review sites, Delicious for website bookmarks—and of course YouTube, to which users add a staggering 6 billion clips a month. As he remarks, “sharing is the mildest form of socialism, but it serves as the foundation for higher levels of communal engagement.”

firefox-logo-fullThe Open-source embrace: Mozilla Firefox

• Under “Cooperation,” Kelly offers the photo aggregator site Flickr as one prime example, with its 3 billion photos that any user can tag with categories, labels, and keywords or collect into sets of their own. Flickr  is an instance of Creative Commons licensing, which “means that communally, if not outright communistically, your picture is my picture.” Also instanced are sites like Digg and Reddit, which let users vote on the web links they display most prominently and so are gaining enormous power in “steer[ing] public conversation” (even as, one might add, traditional media are losing that power). As he remarks: “Serious contributors to these sites put in far more energy than they could ever get in return, but they keep contributing in part because of the cultural power these instruments wield. A contributor’s influence extends way beyond a lone vote, and the community’s collective influence can be far out of proportion to the number of contributors. That is the whole point of social institutions—the sum outperforms the parts.”

• With “Collaboration,” Kelly arrives at open-source software, where he began. “In these endeavors,” he writes, “finely tuned communal tools generate high-quality products from the coordinated work of thousands or tens of thousands of members.” He points out that “these collaborative efforts make no sense within capitalism” because workers on them do a huge amount of high value work without being paid, because we regular-type users don’t pay for the product either, and because it can be freely copied and used to make new stuff. “Instead of money, the peer producers who create the stuff gain credit, status, reputation, enjoyment, satisfaction, and experience.”

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Linux Dreaming of Open Source World Domination

• Finally, there is “Collectivism.”  Kelly points out that cooperation as Shirky defines it doesn’t require complete consensus or much accountability from individual participants. He defines a collective as a group in which such consensus and accountability are crucial to success, “where self-directed peers take responsibility for critical processes and where difficult decisions, such as sorting out priorities, are decided by all participants.”  He goes on to suggest that in reality some degree of hierarchy, formal or otherwise, is usually necessary for collectives to succeed: “Indeed, a close examination of the governing kernel of, say, Wikipedia, Linux, or OpenOffice shows that these efforts are further from the collectivist ideal than appears from the outside. While millions of writers contribute to Wikipedia, a smaller number of editors (around 1,500) are responsible for the majority of the editing. Ditto for collectives that write code. […] As Mitch Kapor, founding chair of the Mozilla open source code factory, observed, ‘Inside every working anarchy, there’s an old-boy network.’”

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How a Wiki  Works

Kelly sensibly points out that if things have to get produced and delivered under constraints such as limited time and exacting standards, a hierarchy is usually required (though, one might add, it could be an elected and temporary one). However, he concludes: “In the past, constructing an organization that exploited hierarchy yet maximized collectivism was nearly impossible. Now digital networking provides the necessary infrastructure. The Net empowers product-focused organizations to function collectively while keeping the hierarchy from fully taking over.”

Summarizing these developments, Kelly proposes that they be understood and deliberately fostered as a “third way” between centralized state planning (which he identifies with the “old socialism”) and “the chaos of market capitalism.” Pointing out that “hybrid systems that blend market and nonmarket mechanisms are not new,”  he alludes both to the “socialization” of education and other public goods like highways in even very capitalist societies, and to the industrial cooperatives of northern Italy and the Basque region of Spain, which are owned collectively by their workers. These he views as models, or at any rate analogies, for what he thinks the nascent digital collectivism might become.

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The organization of  FAGOR, a Basque cooperative enterprise

Finally, Kelly suggests that the sheer number of Americans who now participate in these digital communities, from sharing videos and links to collectively designing software, may already be influencing our national politics in a socialistic direction. It’s a truism that net-based organizing and counter-propaganda (such as devastating “then and now” comparisons of candidates’ mutually contradictory recorded statements made on The Daily Show and instantly posted on YouTube) helped elect Barack Obama and a host of progressive House Democrats In 2008. After acknowledging all the problems of “the last few decades” that “the market” helped solve and  government could not, not Kelly concludes: “We underestimate the power of our tools to reshape our minds. Did we really believe we could collaboratively build and inhabit virtual worlds all day, every day, and not have it affect our perspective? The force of online socialism is growing. Its dynamic is spreading beyond electrons — perhaps into elections.”

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Inside the Matrix: Source Code for Virtual Reality

Information: Free or Expensive?

To begin assessing both the value and the limits of Kelly’s argument, I want to take a couple of steps back and review some history—not just of computers and the internet, but of the political and social context in which the foundations for this digital socialism were being built. Along the way I’ll talk a little about my own experience of that time. There’s a deep tension at the core of the digital universe, as it exists in the present (capitalist) world. This tension was succinctly expressed by Stewart Brand, founder of hippy-tech bible the Whole Earth Catalog and internet pioneer, at the first Hackers’ Conference in 1984:

“On the one hand information wants to be expensive, because it’s so valuable. The right information in the right place just changes your life. On the other hand, information wants to be free, because the cost of getting it out is getting lower and lower all the time. So you have these two fighting against each other.”

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Information wants to be free…

That was 25 years ago. (As Morpheus says to Neo in The Matrix when he’s learned what it is and is marveling at its meticulous realism: “Amazing—isn’t it?”) Brand was right, but he was missing a deeper point, more obvious now as Moore’s Law hurtles us to the close of the Silicon Age. Nanocomputing and quantum computing are on the horizon, with promises of computational power thousands or millions of times greater than we can achieve with even the fastest chip-based logic. These will be matched by equivalently speedy forms of digital transmission that use only light, not electrons, to carry the bit stream. Bottom line: Information “wants to be free” because it is infinitely and almost instantaneously reproducible and transmissible from anywhere in the whole wired world to anywhere else. In this situation, every individual or organization that wants to secure or copyright information, whether as intellectual property or as a plain old secret, is facing an accelerating arms race with pirates and crackers. Securing data is one thing: at least until quantum computing arrives, it can be protected with really serious encryption so long as users follow security protocols—though as always, the best encryption is no match for the clowns who still use obvious passwords, sticky-note their passwords to their workstations, or take the data home in a laptop they then leave on the train. The same applies to closed networks. But if, as with any form of commercial software or “content,” you want to sell copies but limit reproduction, you cannot hope to win the arms race.

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…But it also needs to be paid for: the paradox of creation as merchandise

The “music industry” is one obvious case in point. In the 1990s, media companies tried to replicate the old vinyl disk (and analog cassette) business model for selling recorded music. As most people under 50 know by now, it has failed. Any encryption scheme that will allow the CD to be played but not copied—or copied some limited number of times—can and will be cracked. And the combo of broadband and .mp3 technology has made the physical medium of the CD obsolete anyway.

The upshot is that the model for musicians has flipped: instead of making most of their money from selling records, as they did from the 1960s through the 1980s, and promoting the record with a tour, they now make their money gigging and touring, offering recordings free on sites like MySpace to promote their live performances. There’s not a lot of room for media companies in this model, to put it mildly. The information that is the musicians’ recordings wants to be free, and is. What is not free, for the most part, is the actual experience of hearing them play: unique, physical, unreproducible except as a two-dimensional recorded reminiscence—and so worth money, because everyone in their audience understands that bands need to put food on their tables and strings on their guitars.

I’ll come back to that issue of “real life” in a minute. But first, to paraphrase a lyric by my friend Tom Ward of the Funktionaries, take a little trip in time with me back to 1984.

1984: Birth of the Matrix, Death of the Old Socialism

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A double dose of the corporate entity branded “Ronald Reagan”

Nineteen eighty-four was by all sorts of standards a banner year in political, social, and technological-cultural history. Ronald Reagan re-elected by a landslide. The Iran-Contra deal still secret but about to be uncovered. Counterinsurgency war in Central America and elsewhere. Neoliberalism, aka “free-market society,” ascendant. But also… The year William Gibson published Neuromancer, the brilliant novel that gave us the terms “cyberspace” and “the Matrix” to name a near-future digital universe still dominated by corporations and the military, but so complex that it has become an ecosystem, evolving its own life-forms and escaping institutional control. The year Stewart Brand made his percipient statement at that first Hackers’ Conference. The year Apple unveiled the first Macintosh, announcing it with one of the most celebrated TV ads of all time, in which a hall full of zombified proles is gazing at a telescreen from which the Leader is droning totalitarian bullshit, only to be “freed” by a pretty young blonde in athletic top, booty shorts, and sneakers who hurls a sledgehammer through the screen.

image002The Famous 1984 Macintosh Ad

Contrary to Apple’s bold claim in the ad’s teaser tag line—“ …1984 won’t be like ‘1984’”—the year did in fact bear nasty similarities to Orwell’s dystopian date: it was the time of the hysterical nationalism unleashed at the 1984 Olympics and the associated conformist pressure, the ongoing spying against the Central America and South Africa solidarity movements, the rise of the Religious Right as a protofascist force, the nuclear saber-rattling toward the (actually tottering) Soviet Union, and so forth. And in the UK, where I was toward the end of the year, it was the time of the Thatcher government’s brutal and naked repression of the nationwide coal miners’ strike, unchallenged by the rest of the unions—the death of the British labor movement and of old-school working-class socialism.

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Miner’s wife and cop: Thatcherism in action, Orgreave, Yorkshire, 1984

At the very moment that the nascent cyberculture was beginning to know itself as such and be awed by the vistas of possibility that were opening before it, then, capitalism was reverting to some of its most vicious traits. Crushing unions and pushing down wages and benefits. Shredding the social safety net for all but the ill, the very poor, and the elderly. Reviving crude racism and sexism as a way to bond white male workers to the white elite. Stepping up blatant imperialism in Central America and the Middle East. Engaging in speculative frenzies made possible by deregulation—though nothing compared to what it’s done since. Privatizing (read: stealing) every public good in sight. So, underlying the tension Brand spoke of was emerging another, still greater tension: between the genuine liberatory possibilities of computers and the internet, and the globalization and financialization of capitalism, which could exploit the new technologies in ways even Gibson, let alone Brand, was not yet able to imagine.

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The New Homeless, 1984 (photo by Chris Shames)

And 1984 was also the year right before I got into the whole digital thing. I came back from Britain in the late spring of ’85 politically depressed and personally at a loose end. I had trained to be an elementary-school teacher before I left but, following some grim and exhausting experiences substituting in my local public schools, had decided I wanted to do something else. Through the four years before I left I had been a collaborator in the notorious underground office-worker ‘zine Processed World, drawing cartoons and writing articles. But—true confession—I was the only member of the core group who had never actually worked in an office. I’d never used a dedicated word processor, a photo-typesetting machine, or any other kind of computer then in operation. I couldn’t even type well. (I feel better in retrospect having learned that when he wrote Neuromancer, William Gibson had never used a computer either; he composed the book on a manual typewriter.) But what I did know how do was write.

So through contacts in the Processed World circle, which was increasingly attracting denizens of Silicon Valley, I found out that if I was going to get work as a technical writer, then a new profession, the first thing I needed to do was learn Unix. Whatever that was.

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Hello, Adam… The Matrix has you

I enrolled in an “Intro to Unix” course offered through UC Extension and taught by a couple of genial Berkeley hacker types. I found out, first of all, that Unix is an operating system: the software that manages all the other software as well as the RAM, the magnetic disk memory and the files it stores, and the peripherals like keyboard and monitor. Unix has two main components: the kernel, the code that (once compiled into binary-based assembly language) actually tells the machine what to do; and the shell, the outer interface, allowing users to activate chunks of the kernel with simple code terms close to what programmers somewhat disdainfully call “natural language”  (American English version, release 1970). Writing system shell code didn’t come easily, but once I started to get the hang of it, I had those experiences early-adopter cyberians always talk about: the thrilling sense of vast and mysterious virtual space behind the black screen with its blinking green command prompt (anachronistically used for just this effect in the first Neo scene of The Matrix); the excitement of exploring the file tree and the huge array of shell commands more deeply; the triumphant rush as a script I had written did its thing and characters cascaded down the screen in response; the sense of time-warp as I surfaced from what had felt like maybe twenty minutes of coding or debugging to find that many hours had gone by. I even literally began dreaming in shell code. So I know first-hand what keeps programmers and hackers addicted, even though I never wrote a shell script that wasn’t pretty much a total kluge.

The Secret Collectivism at the Origin of Cyberspace

unix file.tree More important for present purposes, I learned more about what Unix was: the first really portable (machine-independent) operating system, designed to run on minicomputers rather than on the big specialized mainframes of yore. The system you use on your desktop or laptop machine, whatever it may be, is a direct descendant of Unix (or, in the case of Mac OS, an actual brand of Unix), because it uses all the same basic principles. Bill Gates began building his ginormous fortune by leasing and then buying from a Seattle startup an operating system for the microcomputer (as the nascent PC was then known). The system was (more or less) portable and file-based like Unix, but shrunk down to the barest minimum. Gates called this dwarf system—sort of a Mini-Me version of Unix—MS-DOS, Microsoft Disk Operating System. The smartest thing he did, though, was keeping the rights to the source code he then leased to IBM. Apple, whose single-box Mac was the geek sensation of 1984, decided to keep their OS source code to themselves and retain control of the hardware, a move that almost put them out of business by the early 1990s as “clone” PCs were produced cheaply and sold loaded with DOS and then Windows, plus the Office suite, to countless businesses.

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IBM-PC: We said that stood for “Intensely Boring Machine–Press Cancel”

So here comes Brand’s free/expensive tension again, right at the start of the personal computer age. Unix was first designed by engineers at AT&T’s Bell Labs in the 1970s as a more efficient way to keep a computer running smoothly without the jams caused by processes from several users conflicting with each other. Once it was rewritten in C, a high-level programming language, it could be installed on any machine with the capacity to run it. Unix was designed from the git-go to be  multi-tasking and multi-user, with users and the processes they’re running sharing the CPU’s time in an intricate nanosecond-by-nanosecond dance managed by the kernel. According to Wikipedia, perhaps the most visible symbol of the kind of digital cooperation Kevin Kelly talks about in his essay:

“Unix systems are characterized by various concepts: the use of plain text for storing data; a hierarchical file system; treating devices and certain types of inter-process communication (IPC) as files; and the use of a large number of software tools, small programs that can be strung together through a command line interpreter using pipes, as opposed to using a single monolithic program that includes all of the same functionality. These concepts are known as the Unix philosophy.”

To paraphrase: in classic Unix everything is treated as a file, software apps and utilities are small modules that can be easily moved around and connected so that the output of one becomes the input of another, and the files are arranged in a tree structure that allows data to move in all directions between them. The shell is easy to learn (even I could do it!) and almost as easy to modify. As a result, files can be traded easily between users and, if they’re software, just added to the tool-belt on that machine or in that version of the system. Every multi-user Unix system, like the ones at UC Berkeley I learned on, functioned as a local network that its users could in principle modify at will. When I built my klugey little class projects, I could borrow chunks of useful code from other people in the system or from other tools that were already stored there, in the same way as I might borrow some flour from a neighbor or a socket set from a tool library.

Because of the way files were organized, Unix was made to order also for the then-baby internet. That further meant Unix was made to order for open communication, individual creativity, and collaborative work, whether in real time or serially. For this reason it became hugely popular in academic and scientific-technical environments, where these qualities were highly valued. So right at the start of modern computing, there was a lot of implicit “socialism” built into the core concepts and structures.

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The Birth of the Internet: An ARPANET Network Map, 1977

Enter the PC and Bill Gates. (Steve Jobs was already there with the Apple II, used mainly in elementary school classrooms.) All of a sudden the computer, for most users, went individual and private. To communicate locally, PCs had to be strung together in often miserably complicated and ornery hardwired networks requiring intermediary devices  to manage the traffic. But because of Microsoft’s admittedly brilliant decision to license MS-DOS to software developers and hardware manufacturers, combined with the cutthroat business maneuvers for which they became infamous, the company was able to dominate this exploding market.

Through the 1990s, computing power and the complexity of data files (like photos or large formatted docs) outpaced internet bandwidth and file-compression techniques. (Email itself, in the form of vanilla text messages, stayed pretty fast, and its use spread fast too.) This lag was partly because Microsoft, despite their virtual lock on home and business computing, couldn’t at first see a way to make money from the brand-new World Wide Web, and nor could the rapidly merging and mutating telecom companies who managed the phone lines. (Those of my readers online then will recall the endless yawn times as downloading images formed pixel by laborious pixel on the screen.) But as the Web grew along with the internet, as modems got faster, as DSL and finally cable broadband were developed—and, of course, as the computers themselves became more and more powerful—the new collaborative possibilities Kelly talks about finally emerged. The question is, though: on what sort of foundation does this virtual people’s democracy rest?

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A 3-D map of the World Wide Web

Dirt Behind the Digital Daydream: The Hardware Problem

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Back when I was first working as a writer and editor for tech companies, I used to hear a joke: “Q: How many programmers does it take to change a light-bulb? A: None—that’s a hardware problem.” It strikes me that there is a huge “hardware problem” for Kevin Kelly’s software socialism, to which he rather startlingly never alludes. It’s this. All the infrastructure that supports the sharing and cooperation and collaboration and collectivism he’s so thrilled by is controlled and manufactured and maintained by very nonsocialist, very profit-oriented capitalist corporations. A large percentage of chip manufacture had already migrated to Malaysia, Mexico, and other low-wage areas by the mid-1980s. Most computer hardware is now also built in such places. As the U.S. Bureau of Labor Statistics puts it:

“Globalization has become a major factor in the electronics manufacturing industry, often making it difficult to distinguish between American and foreign companies. Many American companies are opening plants and development centers overseas and overseas companies are doing the same in the U.S. Many products are being designed in one country, manufactured in another, and assembled in a third. The U.S. electronics industry tends to be focused on high-end products, such as computers and microchips. Even so, many components of final products manufactured in the U.S. are produced elsewhere and shipped to an American plant for final assembly.”

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A computer components  factory,Taiwan

A further disturbing trend is the outsourcing of actual production to “contract manufacturers” on the model of the clothing and footwear giants like Nike and the Gap. As described by Naomi Klein in her seminal 1999 study No Logo, these manufacturers typically operate in so-called free-trade zones where even the weak (and weakly enforced) local environmental and worker safety laws are completely suspended, and where workers are terrorized and sometimes murdered if they attempt to organize for basic rights. (The Philippines is particularly egregious in this regard.) The U.S.-based parent company, faced with charges of this kind, can then do as Nike CEO Phil Knight did in 1998—admit that it’s “not perfect” but claim that whatever abuses have occurred in the factories of the vicious cockroach capitalists it contracts with are being looked into and that it will work to improve conditions. In other words, the old Pontius Pilate antibacterial hand-wash.

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But it’s all so clean! Masks and gloves protect the chips from the people…

Case in point: Dell, until recently the colossus of Microsoft-platform PC manufacturing, plans to sell all its factories to contract manufacturers so as to cut costs. Dell management understands perfectly well that the way those costs will be cut is out of the health, wealth, and physical and emotional lives of the workers who will build its machines in these silicon sweatshops. Hewlett Packard, which twenty years ago prided itself in its paternalistic care for its workers, has now outsourced almost everything but design and branding to offshore contractors, mostly in India. Even coding itself is being moved offshore. The outsourcing movement in IT has actually (and rather notoriously) become a kind of irrational compulsion, apparently because the American corporate class has developed a reflexive loathing for American workers. Recently I wrote some user guides a company that makes educational software—that is, software that is mostly English-language text. They had outsourced their quality assurance to a subcontractor in Mumbai—that is, to non-native speakers of English. Go figure.

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The Key Question: The Cover of Processed World #1

It gets much worse. Ever wonder what happens to your old PC or laptop when you leave it out for the bulky waste pickup or trade it in for a newer one? E-waste, as it’s called, is now the fastest growing component of municipal trash streams. In the United States, Dell among other companies is using prisoners to “recycle” (dismantle and/or crush to extract minerals) old PCs and related hardware under extremely unsafe conditions, in which they inhale toxics like lead and chlorine compounds and are subject to injuries from flying glass. Similar operations are being run by subcontractors in Asia and the Caribbean with if anything even fewer health and safety protections for workers.

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Women prisoners in Texas used as slave labor to break down computers

And worse still. Many of the minerals needed for chip and component production are being quietly obtained from war zones in Africa. Forget “blood diamonds” from the Congo—how about mass-rape tantalum for your PC or cell phone from the very same pit of hell? Activists are now pressuring hardware manufacturers to stop using tantalum, gold, tin, and tungsten from such places. But the more computer hardware firms outsource production to subcontractors in unaccountable places, the harder it is to control the supply chain and assure that “conflict minerals” are not being used. The point is, open-source creators have no control over the physical apparatus that underlies their collaboration. And that has further implications.

Collaboration for What?

The great nineteenth-century radical German poet Heinrich Heine once wrote a poem about workers in a cannon factory. Highly organized and highly skilled, the workers pride themselves on the superb quality of the weapons they manufacture. But crisis comes, and popular revolt follows. The cannon-makers, their families close to starvation, join their brothers and sisters in a strike and uprising. They are mowed down by the very same excellent cannons they built for the army of the State.

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Barricades erected by rebel workers, Berlin, 1848

This strikes me as a fine allegory for the situation of the open-source movement. Agile corporations are co-opting and privatizing much of the new commons as quickly as it emerges. For instance, open-source Apache servers and Eclipse development software are being used to power proprietary “business enterprise solutions” used by predatory medical insurance and financial service conglomerates of the kind now bitterly resisting any reform with a howling white-out of lobbyist dollars and manipulated astroturf protests. Capitalism is subverting the open-sourcers, and with very little effective organizing by the latter. This subversion and cooptation, together with the upward redistribution of income via the tax structure and downward pressure on the pay of almost entirely unorganized employees, has another devastating consequence: the “time famine” that has affected Americans so severely and is spreading throughout the First World as the historic gains of the old working-class movement are rolled back.

Corporate capital has organized the technology cycle into a messy but highly profitable swirl of rapid obsolescence, backward incompatibility, competing protocols and operating systems and data warehousing—as well as the premature releases of buggy software that require a huge and unnecessary IT service-support infrastructure. Like the private for-profit heath-care sector and the industrial food sector it serves, the tech sector is increasingly parasitic, selling band-aid solutions (expensive meds and procedures, dietary supplements and “healthy” junk foods) to the very problems it creates.

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A little comment on the outsourcing of tech support

The result is that white-collar and in particular tech work expands mercilessly, compelling two-plus-income households where one income served before, putting workers on a hypertrack with less time for everything, including making real-world social change—or creating open-source software. The Great Recession has crucially, if at great financial and human cost,  paused the hypertrack for many. But the hypertrack is still in place, with open-sourcers in the short term posing at best a symbolic challenge to corporate domination because they’re not organized as a conscious “class”—either for themselves or for the rest of us.

That said, I understand Kelly’s argument about the implicit socialism of the digital commons. Ironically, it’s the same argument Marx made 150 years ago about the classical industrial proletariat—that socialism would come naturally and intuitively to them because of the way they were “organized, disciplined, and united by the process of production itself.” Marx was not altogether wrong on this, by any means. But he failed to allow for the way that workers’ experience outside work could counteract the cooperative impulse generated by the experience of collective labor and the need for solidarity on the job. Despite the fact that hundreds of millions of workers became socialist in just the ways he said they would, the experience of pseudo-middle-class consumption of the very products they manufactured, combined with the systematic breakup of industrial communities before and after World War II, undermined the “proletarian experience” and the resulting sense of solidarity and a shared communal future.

To what extent will the open-source collaboration experience and the other forms of digital sharing and cooperation Kelly cites be able to counteract the relentless privatizing pressures of both the economic system and the ruling ideology? And how will these nascent communities grow beyond the relatively small and limited sectors they currently occupy?

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Workers’ playtime: Sit-down strike and occupation, Flint, MI, 1937

E-Socialism and the Real “Third Way”: The Movement from Below

Kelly’s nascent e-socialism is a bit like fifth-century BCE Athens, the “birthplace of democracy.” Only male citizens could participate in the democracy—not the women and slaves on whose unpaid labor the city-state depended. And where did their democracy lead them, in the end, without a conscious mission of enlarging the demos—beginning with the freeing of the slaves and the inclusion of women as full citizens? To tyranny, and then to oblivion. Skilled First-World programmers and engineers stand in a similar relation to the millions of low-paid, ill-treated workers in the mines and chip factories and assembly plants and e-cycling centers as did the propertied male citizens of Athens to the women and slaves. These workers mostly don’t have access to broadband internet and have not been invited to the digital socialist party. Nor have the offshore engineers, coders, and call-center customer service workers, even though they are on the net in rapidly increasing numbers. They’re less concerned with file sharing, let alone tagging and Digging and Tweeting, than with making sure they keep a roof over their heads and food on the table for another week, another day, maybe scrambling a rung or two up the social ladder and gaining a little security even as their traditional communal ties and lifeways are obliterated by the corporate juggernaut. All in all, as the planetary population approaches 7 billion, of whom about 27% are 15 and under, current estimates show that only 1 billion are connected to the internet—about 14%. So where’s socialism, digital or otherwise, for the other 6/7 of humanity?

e-recycling_Asia

This brings me to Kelly’s straw-man version of “old socialism.”  Throughout, Kelly defines “socialism” basically as Stalinism:

“The type of communism with which Gates hoped to tar the creators of Linux was born in an era of enforced borders, centralized communications, and top-heavy industrial processes. Those constraints gave rise to a type of collective ownership that replaced the brilliant chaos of a free market with scientific five-year plans devised by an all-powerful politburo. This political operating system failed, to put it mildly. However, unlike those older strains of red-flag socialism, the new socialism runs over a borderless Internet, through a tightly integrated global economy. It is designed to heighten individual autonomy and thwart centralization. It is decentralization extreme.

“Instead of gathering on collective farms, we gather in collective worlds. Instead of state factories, we have desktop factories connected to virtual co-ops. Instead of sharing drill bits, picks, and shovels, we share apps, scripts, and APIs. Instead of faceless politburos, we have faceless meritocracies, where the only thing that matters is getting things done. Instead of national production, we have peer production. Instead of government rations and subsidies, we have a bounty of free goods.”

Oooh, how cool! No dirty factories, picks or shovels. No dirt, period! Only if you forget about the inconvenient issue of infrastructure, though… (And does one sense here that traditional and unquestioned white-collar disdain for blue-collar sweat and grime?) Kelly even sets it up as paired oppositions in a neat little table: KK socialisms table But this binary opposition misses an entire history, from the Paris Commune of 1871, by way the original workers’ councils and factory committees of Russia. Italy, and Germany 1918-21, of the Seattle General Strike of 1919, of the industrial and farm collectives of the Spanish Revolution 1936-7, of the unemployed councils and workplace occupations in the U.S. Midwest 1934-7, of the cordones industriales in Chile 1972-3, to the “horizontalist” cooperative workplace takeovers and distribution networks in Argentina following the collapse of the peso in 2004… and of countless other smaller-scale phenomena of the same kind throughout the history of capitalism.

miltia_lorry 1937

Armed anarchist workers, Spain, 1937

In short, Kelly leaves out the history of self-organized, directly democratic socialism “from below”—the only real kind. This movement, not the dictatorial state-capitalism of the former USSR and its satellites or of China pre-“liberalization,” is the power that, as Marx and Engels put it in the Communist Manifesto, is the “specter” that “all the powers of the Old World” have united to hunt down and destroy. And not coincidentally, this real, free-cooperative socialism, begun again and again only to be crushed or co-opted, bears a far closer resemblance to Kelly’s digital commons than it does to the totalitarian monstrosities of a now almost defunct Stalinism. Intuitively, crude historical comparisons notwithstanding, Kelly seems to have a strong intuitive sense of what the deep “operating system” (as he would call it) of socialism is: the realized understanding that sharing and cooperation enlarge individual possibility rather than limit it.

open_source-is_communism

Still, as Kelly acknowledges, most of the participants in his nascent e-socialism are not—yet, anyway—very socialistically minded. Twitterers, YouTubers, and other content sharers are (on the evidence) mostly thinking about the coolness of whatever they’re posting or tagging. A lot of open-source coders are hoping to sharpen their skills enough through the unpaid work to be able to design the “killer app” that will propel them via startup to sellout and wealthy retirement. Yet as I noted, in an oddly Marxian way, Kelly’s final paragraph holds out hope that digital-socialist existence is starting to determine user consciousness and further a cooperative, socially concerned mindset.

Is this possible? It’s true that digital socialism à la Kelly manifests, at least to a point, Marx’s description of the economic basis of a socialist society: the “free association of producers.” It’s also true that left-liberal, cooperativist, environmentalist, feminist, and even ecosocialist groups and networks have formed on the web and to some extent have, as Kelly suggests, helped push “the public conversation” in a more progressive (or at any rate less market-uber-alles) direction. And some of them, like MoveOn, are now very large. But they’re nowhere near as large as the hordes of people posting jokes, curiosities, pretty images, or entertainment to YouTube, Flickr, and Facebook among other “sharing” sites.

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On the up side it’s worth remembering that most of these tools and communities have been around for less than five years, and that they have by any reasonable estimate already had a huge impact on cultural, social, and political life in the U.S., the EU, and the more developed nations in Asia and Latin America. How much more impact can they have until internet access becomes considerably more widespread in the “developing” world than it is now?

We have an example to look at. The role of social networks and file-sharing in the recent post-election uprising in Iran has been widely noted, along with the use of cell-phone cams to record and instantly upload images and footage of the protests and government repression in real time. But as the repressive apparatus of the Islamic Republic of Iran (IRI) got a handle on this process and shut down much of the internet and cell phone system, it proceeded with its now familiar savagery to brutalize, arrest, torture, rape, imprison, and murder the rebels. The original educated middle-class urban core of the revolt is largely silenced for the time being. The active opposition to the regime, still growing and flexing its collective muscles, is now from the increasingly infuriated and desperate Iranian industrial working class, as strikes and solidarity actions proliferate in defiance of the IRI’s state-controlled unions.

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Tehran, 2009: Each red circle indicates a cell phone or digital camera

These actions are for the most part invisible on the Web, because the people carrying them out can barely afford enough food for their children, let alone an internet connection. Yet it is they who, by virtue of their position in the economy, have the power to bring the IRI to its knees—just as they did in 1979 with the Shah. This time, though, they are likely to reject any leadership that does not emanate from their own ranks and does not address concretely their actual conditions and the question of who controls production and distribution. I look forward to hearing a Farsi version of “Won’t Get Fooled Again” sung by workers as they occupy their workplaces and as a new round of mass demonstrations causes the collapse of the Army and the police.

New Socialism IRL: For an Open-Source Global Society

Chatroom users, as one of the textspeak subcultures, have evolved a bunch of acronyms. One frequently encountered is “irl”—short for “in real life.” As in, Vampire_Princess confesses to Shadowcat that irl she is a Christian marketing consultant, and Shadowcat reciprocates by admitting that irl he is an engineering student living with his parents. In real life we are facing an ongoing ecological and economic crisis of epic proportions. It’s becoming increasingly obvious that to use Kelly’s term, our global “operating system”—which he would no doubt label democratic capitalism and I would call quasi-democratic corporate oligarchy—is failing.

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Iranian tire workers on strike, 2009

We could argue for a long time about the reasons for this, but it does seem clear that the market as the main feedback mechanism for the allocation of resources keeps crashing more and more violently, and that it has failed to measure the real environmental and human costs of economic activity. One can point to contingent causes, like the accelerating deregulation and globalization of finance capital since the “Big Bang” of 1989. The result of this deregulation was that far bigger profit margins were available in financial speculation than in material production. This caused two rapidly increasing migrations: of capital into the financial markets, and of industry of all kinds into low-wage, low-regulation zones around the world. For the human and natural environments alike, the consequences have been catastrophic. The current OS for global human cooperation in producing and distributing the means of life in a sustainable and equitable way is now inadequate to the “networks” it is trying to run.

Circa 1974, well before computerization had begun to take hold, I was shown a portable modem for the first time. It filled one third of a medium-sized aluminum suitcase, the other two thirds of which contained a keyboard and a dot-matrix tractor printer. The nerd prince who brought it to my commie-collective house then plugged it in, placed the handset of my phone into the built-in cradle, dialed up, and once he got through to the computer on which he had an account, proceeded to access, download, and print out for me and my friends a whole lot of data about the census tract we were living in.

3-2-Modem

A very early modem: note the phone handset in the cradle

Wow! Cue the Richard Strauss “Zarathustra theme” from 2001. But this wasn’t just the techno-rapture of a flung bone morphing into a spaceship. All of a sudden we young libertarian socialists saw the possibility of replacing markets as a feedback mechanism for democratic economic management. We already understood (sorry, Kevin) that centralized state planning not only led to tyranny but was a failure on its own terms, because the planners could never collect, sort, and evaluate all the data needed fast or comprehensively enough to respond to consumer demand or cope with bottlenecks in production and supply chains. This was because the product mix (output from one production process becoming the input for others, in what’s called a Leontief matrix) was already too complex even in the sparse economies of the USSR or China—let alone a really complex, fully developed one like that of the U.S. At the same time, faced with the “Energy Crisis” caused by the need to vacuum up a huge new pool of capital via raised oil prices and the petrodollar, we understood that markets, inherently unjust, were also becoming inadequate, despotic, and destructive.

Leontief matrixA Leontief Matrix

Our response was the notion of “omnicentral” planning, whereby producer cooperatives would get real-time, continual feedback and evaluation on both the quantity and quality of products, and in which flexible distribution and supply networks would “packet” goods around bottlenecks in a way analogous to the functioning of the internet itself. Not only that, but networked computers everywhere would make possible a horizontal global democracy based on local face-to-face assemblies in workplaces and neighborhoods, of exactly the kind that develop spontaneously when the capitalist OS crashes, as recently in Argentina in 2004. We could dispense with money and markets altogether—not to mention national frontiers, which today only halt the movement of ordinary people, while capital flows blithely over them as if they didn’t exist. National borders are as obsolete as the Great Wall of China, and so, really, are national governments. And, with the grow-or-die imperative that’s in capitalism’s DNA gone along with the need to protect existing investment, the global commons could shift out of unsustainable technologies and consumption patterns much more rapidly and fully while assuring that everyone got a decent life with a lot less work. Here’s my expanded and revised version of Kelly’s cute little table of socialisms:

AC socialisms table

But how to get there from here? I said above that the workers who mine, manufacture, and maintain the physical infrastructure of the wired world—as well as, increasingly, the low-level coders and customer service reps who keep the data and the revenue flowing—have not been invited to Kelly’s digital socialist party. That doesn’t mean they won’t crash it, though. As more low- and medium-level software and services functions are offshored, these digital infrastructure workers in developing countries gain more access to the net. The example of Iran is dramatic but far from unique. Already, in China for example, the environmental movement is all over it—reporting, sharing ideas, criticizing, albeit in that “apolitical” and supremely nuanced yet effective way that the “Communist” bureaucracy makes necessary with the deliberate vagueness of its restrictions on speech. The “popular sectors” in Latin America are also e-networking transnationally in the context of left-leaning governments that are resisting the continuing neoliberal pressures from the United States. And so on.

You can be sure that as this movement gets bolder in Iran and elsewhere, the Western media will suddenly find reasons to side with the IRI or whatever other previously much-criticized regime is being challenged by a widespread refusal to perform the activities that reproduce capitalism, aka a mass strike. Unlike Kevin Kelly, the transnational corporate elite understands very well who its real enemies are, and as always, apparently opposed factions—including the Chinese “Communist” Party—will unite to hunt down the specter of real communism yet again, if they can. But as such movements spread and circulate ideas, tactics, and entire forms of struggle via the internet, they will become harder and harder to stop. The aforementioned Chinese apparatus is doing its best, with the tacit support of global-reach ISPs like Google and Yahoo, to develop sophisticated means of automated information control in response to the growing and real threat of real digital democracy. I anticipate an intensifying information arms race between democratic and new-socialist forces and the corporate class, which today can no more do without a largely open internet than it can do without telephones, highways, railroads, or air and sea freight.

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West Coast longshore workers demonstrate against the Bush regime, 2002

As no less a defender of the status quo than Rahm Emanuel has remarked: “You never want a serious crisis to go to waste. And what I mean by that is an opportunity to do things you think you could not do before.” The opportunities for nudging the creativity and collective effort of the decentralized electronic sharing and collaboration Kelly rhapsodizes about toward real transformation and shared purpose have never been greater, and the crisis to which we need to respond has never been more serious. It’s time to bring the digital commons down to earth and create a planetwide open-source society.

Iran_beauty_cellphone

August 2009

Oakland, California

02
Jun
09

Pat Buchanan and the “White Working Class”

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Mr. Buchanan giving his favorite salute

Pat Buchanan, frothing about one decision made by Sonia Sotomayor entirely on the basis of existing civil rights law, wants conservatives to “stand up for the white working class.” Really, you can’t make this stuff up.

Just in case you were in suspended animation for the last few decades, or are very young (or watch Fox News), here are a few ways conservatives in power have “stood up” for the working class, white and otherwise, since Ronald Reagan was elected in 1980:

– They have gutted legal protections for union organizing and appointed anti-union administrators to the National Labor Relations Board to the point at which fewer than 10% of private-sector workers are unionized.

– They have seriously weakened workplace health and safety protection by adding all sorts of exceptions to existing legislation and by drastically underfunding OSHA inspection and enforcement.

- They have fought to resist any increase in the minimum wage at both Federal and state levels.

- They have vehemently resisted the Family Leave Act and any mandate for increased sick leave or longer paid vacation.

– They have helped to defund public transportation.

– They have done everything possible, including tax breaks, to encourage corporations to export what were decently paid and often union jobs to low-wage zones abroad.

– They have made it more difficult for workers to sue employers for age and gender discrimination (half of all workers are women, and white workers get old too).

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The working class, nonwhite and white together, standing up for itself

In other words, if they’re standing up for me (speaking as a “white” and currently unemployed worker), I wish they’d sit the fuck down. Pat Buchanan’s supposed concern for the “white working class” is disingenuous, racist, hypocritical hot air. “Conservatives” in America today are about one thing: conserving the wealth and privilege of the (almost all white) wealthy and privileged class. If we didn’t know that in 1980, we sure as hell do now.

I laugh, bitterly to be sure. But really it’s no laughing matter. Simultaneous appeals to class and “race” or nationality from members of the dominant ethnic group are invariably protofascist, because fascism is the vertical alliance of the ruling (capitalist) class with the working class of the same ethnicity or nationality against a manufactured Other: the Jews, the niggers, the immigrants, whoever. Racism is to fascism as beer is to vodka: the fermented but undistilled compound.

The responses to the Sotomayor nomination and to the assassination of Dr. George Tiller by people like Buchanan, Bill O’Reilly, and Randall Terry, together with the resurgence of “freemen” and militia-type organizations, are reinforcing my suspicion that the Republican Right may well collapse into a kind of white “Christian” nationalist party with an increasingly violent semi-underground terrorist wing–attacking immigrant rallies, picket lines of mainly black or brown workers, abortion clinics and pro-choice demonstrations, and of course queers and queer public presence. (See also the xenophobic responses of Sarah Palin’s base during the last weeks of the McCain campaign, or the sheer lunacy displayed at the “teabag” rallies in April.)

When you hear the likes of Pat Buchanan start spouting about the oppression of the “white working class” in our current political and economic crisis, expect more extreme views and more intimidation and thuggery to follow close behind those words, while the “mainstream” instigators ostentatiously wash their filthy hands on TV and piously declaim against violence. We need to be ready.

guy-with-gun-sign-town-hall

And here they come, spouting the words of Thomas Jefferson, who would not have crossed the street to spit on them if they were on fire…

21
Mar
09

The Rope Bridge: Our Only Chance?

Rope Bridge

It’s a cliche of Hollywood adventure movies — the rope and plank bridge over the deep chasm, already damaged when the hero arrives with the bad guys coming after him, that he has to herd his panicky friends across even as it disintegrates behind them.

That’s a perfect metaphor for where human society is right now. The chasm is ecological and economic collapse caused by the combination of climate change and the global capitalist crisis, with the death of billions by starvation, war, and disease at the bottom. On this side is fossil-fuel-based consumer society, run by an insatiable corporate oligarchy and policed by national governments, unsustainable and failing. On the far side is the possibility of a sustainable, equitable, “green” global economic and technological order. In between is the bridge. We, humanity, are headed for that bridge, with deranged enemies behind us trying to head us off and behind them an advancing wall of fire.

What is the bridge, so narrow, so fragile, already so damaged? It is the possible but increasingly difficult and risky transition between the old and the new. Getting across requires a strategy that does a few crucial things in a very short time.

–First, the strategy cuts carbon and other greenhouse gas emissions more rapidly and radically than any currently touted plan — because the targets of all these plans were formed before the recent research just aired around the Copenhagen conference, which recognizes new multiplier effects like the methane pool under the Arctic ice and reveals sea levels rising much faster than previous models predicted. It’s crucial to realize that the consequences of climate change, even if we cut carbon emissions by 50% tomorrow morning, are still going to be severe.

–Second, the strategy spends enormous amounts of government money to build a clean-energy infrastructure — including a shift away from the private automobile in any form and toward clean mass transit — and creates a system of incentives to phase out fossil-fuel use as fast as possible, beginning with electricity generation and a crash program in conservation via such measures as weatherproofing homes.

– Third, it undoes the corporate industrial agriculture system, which is inherently dependent on long distribution chains, on petrochemical fertilizers, and/or on genetically modified but uniform crops that severely threaten biodiversity, while gigantic machine-worked fields destroy species habitats. The strategy does this by forcing agriculture, like manufacturing, to face the real costs of production, and by supporting local skill-intensive organic farming.

–Fourth, the strategy lays the groundwork for a new flowering of scientific and technical talent to re-engineer the entire technological basis of society over the next half century or so, and at the same time create mass scientific literacy via a general overhaul and reform of public education from kindergarten through community college.

–Fifth, it reverses the trend to the rampant “offshoring” of manufacturing from the US both encouraged by Bush-era tax policy (and agreements like NAFTA) and fostered by unsupervised financial speculation where rates of profit were — for a time — so much higher than in the “real economy” of goods and services. It does this by recapturing an edge in new, sophisticated, post-fossil-fuel, biomimetic and fully recyclable technologies that work with the natural environment rather than against it.

–Sixth, in the longer term the least important part but in the short term the most crucial, the strategy restarts effective demand in the global economy so that capital circulates again and the system does not simply crash — which would not allow the rest of the transitional process to be happen.

It’s easy to see in this strategy — minus the plank about agriculture — the outlines of the plan now being pushed by the Obama administration in its fiscal 2009 budget and in the stimulus plan. As I said in an earlier post to this blog, Obama, like FDR before him, is trying to save capitalism from most of the capitalists and their myopic, avaricious stupidity.

But here’s the problem. Obama is operating within a political system so deeply corrupt, inbred, and insulated from the real lives of the immense majority in the US and the rest of the world that his proposals do not go far enough on their own terms. Obama is a very intelligent, very charismatic, and very tough politician — and seemingly a courageous man. By the standards of the times he is a true visionary. But his proposals, designed to navigate the sticky, stinking swamp of greed and idiocy that is late-capitalist political culture, are already too timid. Now they seem likely to be further weakened by the dragging opposition of Democratic “moderates” in Congress and by the open blockade of the now utterly nihilistic Republican leadership.

It has to be faced: our future as a species is being jeopardized by men (and a few women) who would rather see human civilization plunge off the cliff than admit that they are morally and intellectually bankrupt and that the entire system of exploitation, power, and privilege they have spent their lives defending is putrid to the core and about to collapse on itself like a rotten apple.

Meanwhile, the rope bridge is coming apart. Planks are falling off, cords are snapping. Many of us would like Obama to be the hero who holds off the enemy mindlessly intent on stopping us from getting across, even though the conflagration is pursuing them too. He is telling us, loudly and repeatedly, to get on the shaky structure and run across, because it is our only hope. But he cannot be that hero. However he meant it, his most famous campaign line, “We are the change we’ve been waiting for,” is true. We, collectively, the working people and the unemployed and the poor of America and the world, must be the hero. We have to fight off the enemies of humanity not with violence but with mass refusal to play by their rules — continual protest, constant pressure and exposure of lies using the new media, mass economic and social disruption, popular self-organization at all levels. In that way we can hold the bridge together while we get across.

What will be on the far side? A “sustainable” and more responsible version of transnational corporate capitalism, as envisioned by Obama & Co? Or something much freer, more beautiful, more cooperative, more democratic? Can we build a global society more truly sustainable and sustaining of us as living beings in a world of living beings, most of whom are not human and have, like us, the right to live?

First, either way, we have to get across the bridge. And we will have to fight like hell to get these corrupt, blind, conscienceless political mercenaries of the fossil-fuel death-economy out of our way. Once we get across, we can renew the struggle over what kind of world we will create there. I believe the best way to get across and hold the bridge together is to do, though in a somewhat different way appropriate to new conditions, what the century-old Preamble of the Industrial Workers of the World calls for: to “form the structure of the new society within the shell of the old.”

“The stars are dead. The animals will not look.
We are left alone with our day, and time is short,
And History to the defeated
May say Alas but cannot help or pardon.”"

–W.H. Auden, “Spain 1937″

18
Mar
09

Your Time and You: A Neoprole’s Dating Guide

[Another oldie but -- I hope -- goodie, that seems relevant to republish at the moment, when all the assumptions of capitalist civilization are being called into question.]

Red-Mantis

Since the writer has no means to escape, we want him to tightly embrace his time; it is his unique chance…
–J.-P. Sartre, 1945

Respond to your time’s advances
all that flash
the zoom lens admiring you from a balcony
the bouquets of subway lines and low-cost flights
the invitations with Your Name Here
Accept a date

Out on the town with your time
give it a chance to show off
story after story blooming across its windows
spun-sugar wages
tall crystals oozing with power
Ooh as it flexes its lights and leans over you
Go home with it

Alone together
let its neoprene lips part gently against yours
its tongue slide buzzing along your gums
Ignore the faint aftertaste
scurvy and gun-oil
chlorine and Sahara and screams
Put your arms round it

Your time is a fast worker you should be too
talk with your fingertips
touch all the right keys and switches
feed it the hot numbers starting with you
the little pink secrets
Go through the motions until you sparkle with sweat
Undo its bracelet of extinct species
Whisper yes

Let it padded clamps rotate you
into position
its arms swivel down and move over you
sequence of sixty separate operations
Gaze up at your time
and smile
as your smile is replicated in mosaic flickers
your heat-trace wriggles like a solar flare
Ignore the faint afterimage
withered silk seizure displays
darkness blinking inside a vacuum flask
Whisper please

Let it part your thighs
with just enough of a struggle
the injector is pale and soft not
the stainless probe you expected
Caress it help it slide in move with it squeeze it
Whisper now

Writhe as its data pulse deep into you
sticky strings of hunger and skill
waste and speed and connections its whole share
of future
Now feel the change
come over you your body taper and streamline
your eyes become wet multiple rubies
your jaws segment and harden into a complex tool
razors sprout under your forearms
your millions of eggs flare like ether
already singing
children who won’t need
to be what you are
Listen
Whisper my turn

Embrace your time tightly
before it can stagger off to new conquests
Bite off its head


[first appeared in Velocities #1, 1982; Rhysling Award for Best Short Science Fiction Poem, 1983; collected in Animations, 1988]

16
Mar
09

The Bread of Heaven: A New Defense of Poetry

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Gustave Dore, from Paradise Lost: The Rebel Angels Gather in Pandemonium

Poetry and the Poem I’d like explore and perhaps revive an idea that has been floating around the radical fringes of poetry for almost two centuries: that poetry — or, if you prefer, the poetic — is not found exclusively in poems, or even in language. The Mexican poet and critic Octavio Paz, in his 1956 book The Bow and the Lyre, takes up this theme of the relationship between poems and the poetic as a quality. He says: “There is also poetry without poems. Landscapes, persons, and events are often poetic, they are poetry without being poems (…) The poetic is poetry in an amorphous state; the poem is creation, poetry standing upright. Poetry is isolated and revealed completely only in the poem. The poem is not a literary form but the meeting place between poetry and man.”

oactavio_paz

Octavio Paz, 1950s

Passing over the sexist language, we notice that Paz contradicts himself here. He claims that the poem is the meeting place between poetry and “man” — but he just said at the beginning of the paragraph that the poetic quality doesn’t exist only in poems. He is ideologically privileging the poem, privileging poetry as language as against poetry as experience. About three decades ago, I first asked myself: what do we mean when we talk about the poetic? The Romantics used the word “poetical”; they would talk about, say, mountain landscapes, or rocky shores, or a painting, as being “poetical.” Today, the word “poetic” gets used in criticism or even in movie reviews to describe a work, and we accept this usage. What do we understand by it?

The Entire City Ernst

Max Ernst, The Entire City

This question became more acute for me in 1987, when I was hired to rebuild the Poetics Program at New College of California. Despite ambitious plans to create a program that would be built around such fundamental issues, I quickly realized that the kinds of questions I wanted to address could not be broached in any useful way with students unless and until they knew a lot more about both the history and context of poetry than almost any of them apparently did. So from a plan for a program intended to develop a radical translinguistic vision of poetry, we had to move to one aimed at built around a socially contextualized historical study of English-language from the Renaissance forward. In order to do that, my Poetics colleagues and I had to fill a lot of gaps in our own literary-historical educations — not to mention struggle to recruit and retain students for a niche program that went against the relentless current of the amnesiac contemporary in “creative writing” and undergraduate English studies in the United States. Now that the New College is defunct and with it the Poetics program, I can start to think about these issues again.

The three attempts to answer that question of what we mean by “the poetic” I am going to deal with here tend to move between two poles. The poles are poetry as revelation, in various senses of that term, as clearing away the veils or blinders and showing writer and reader what is really going on; and poetry as the transformation of life itself — poetry as action that changes the world. Each of these three responses comes from people who were social as well as poetic radicals. In other words, they were active in the revolutionary movements of their time.

Shelley and the Romantic Revaluation of Poetry

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A somewhat idealized Victorian portrait of Shelley

The first of them is the English poet Shelley, in his A Defense of Poetry, one of the great statements of English Romantic theory. But first, Plato, who wrote in the Symposium the broadest definition of poetry that I know, one that Shelley quotes approvingly: “…Poetry, which is a general name signifying every cause whereby anything proceeds from that which is not into that which is, so that the exercise of every inventive art is poetry and all such artists poets.” The Greek word that Plato is using here is to poiein, which means “to make” but has a resonance of “becoming” or “transformation.”

By the eighteenth century this idea of what poetry is was pretty much lost, in England at any rate. Poetry meant verse, something that cultivated gentlemen learned how to compose just like playing the harpsichord and riding at hounds. They took relatively commonplace perceptions and made them into elegant, decorative verse, generally in heroic couplets: “What oft was thought, but ne’er so well expressed.” A few decades before Shelley came along, William Blake savagely attacked this conception, and reasserted the role of the poet/maker as visionary, prophet, and destroyer of commonplaces. But hardly anyone was paying attention. It took the lesser but less eccentric talents of Wordsworth and Coleridge to repopularize such notions in a milder form, and to deal a death-blow to the neoclassical idea of poetry.

It’s a cliché, of course, that Romanticism was a reaction against eighteenth-century rationalism and the Industrial Revolution, and therefore against Progress. We tend to forget that what “Progress” meant in the 1790’s and 1800’s was people being drafted into the factories by starvation at the age of five or six and dying of old age before they were thirty. Generation after generation, hundreds of thousands of people, were chewed up by the factories. Shelley protested these conditions vociferously, not in a nostalgic way but in a profoundly radical one. By the time he wrote this essay he had already been kicked out of Oxford for blasphemy, and had made England rather too hot for himself and moved to Italy.

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Industrial Misery: Textile mill, late 1800s

Oddly enough, A Defence of Poetry was written in response to an absolutely trivial, tongue-in-cheek essay by Thomas Love Peacock called The Four Ages of Poetry, which said essentially: poetry is obsolete, something that belongs to the primeval age of man, and now that we are ruled by Reason and full of Progress and so on, poetry just gets worse and poets should go learn economics and business administration. Now, Shelley was a friend of Peacock’s, and he knew Peacock was kidding, so why did he take the piece so seriously? Shelley’s response looks like nuking a flea. The only way to understand it is if, Shelley’s protestations of admiration for Peacock to the contrary, you see the very triviality of Peacock’s essay, and its consequent trivialization of poetry, as emblematic of everything that Shelley loathed about the culture he had grown up in. As Blake did also, Shelley saw the urbane, complacently rationalist and utilitarian mindset as inextricably linked to the disasters inflicted on working people by industrialization.

Shelley starts his Defence by talking about the difference between Reason and Imagination, because Peacock had gone on about how great Reason was. Imagination, he asserts, is “the principle of synthesis” and therefore of creativity, while Reason is “the enumeration of quantities already known; Imagination is the perception of the value of those quantities both separately and as a whole. Reason respects the differences, and Imagination the similitudes of things. Reason is to Imagination as the instrument to the agent, as the body to the spirit, as the shadow to the substance.(…) Poetry in a general sense may be defined as the expression of the Imagination, and poetry is connate with the origin of Man.”

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Romantic Subjectivity: Caspar David Friedrich, Wanderer Above the Mists

Shelley goes on to make a famous claim for the role of poets: “Poets …were called in the earlier epochs of the world legislators or prophets. A poet essentially comprises and unites both these characters, for he not only beholds intensely the present as it is and discovers those laws according to which present things ought to be ordered, but he beholds the future in the present and his thoughts are the germs and the flower and fruit of latest time.” And then he goes on, much as Paz does all those years later, to privilege language as the primary means of poetic expression: “Language, color, form, and religious and civil habits of action are all the instruments and materials of poetry. They may be called poetry by that figure of speech which considers the effect the synonym of the cause. Poetry in a more restricted sense expresses those arrangements of language…which are created by that imperial faculty whose throne is curtained within the invisible nature of Man” — which is his fancy way of saying imagination — “and this springs from the nature itself of language(…) For language is arbitrarily produced by the imagination and has relation to thoughts alone.”

Shelley is saying in essence that language is the raw material of thought, which is why poems are the highest form of artistic creativity. Then Shelley goes on the same rapid tour through the same historical territory that Peacock did: Greece and ancient Rome, the early Christian era, and the Renaissance, which for both of them were the high points of world history, all the rest being those non-European barbarians and savages out there. But when he gets to the present, which is to say 1820 or so, he becomes rather more interesting. He says: “We have more moral, political, and historical wisdom that we know how to reduce into practice; we have more scientific and economical knowledge than can be accommodated to the just distribution of the produce which it multiplies. The poetry in these systems of thought is concealed by the accumulation of facts and calculating processes. We want” — that is, lack — “the creative faculty to imagine that which we know; we want the generous impulse to act that which we imagine; we want the poetry of life: our calculations outrun conception; we have eaten more than we can digest.”

Shelley goes on to point out that society has gained tremendous scientific knowledge and focused it in the factory into machines, which ought to be making the burden of work lighter — yet people are working longer hours than before for less reward, they’re being destroyed by toil and reduced to starvation in huge numbers. He finishes by saying: “Thus, poetry and the principle of Self, of which money is the visible incarnation, are the God and Mammon of the world.” So Shelley here starts out somewhat liberal, calling for a little more poetry as a humanizing factor in the calculations of the factory-owners and engineers. But he ends up with a clear assertion that money and poetry are incompatible, and that capitalist industrial society is morally bankrupt and humanly disastrous. In fact, the problematic which Shelley raises — why is all this power for generating wealth and reducing the amount of labor actually multiplying poverty and intensifying labor? — is exactly what Karl Marx spent his life examining.

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The Fouling of the World: Early Carbon Era, mid-1800s

Then Shelley makes his programmatic statement about poetry: “Poetry turns all things to loveliness. It exalts that which is most beautiful and it adds beauty to that which is most deformed. It marries exaltation and horror, grief and pleasure, eternity and change. It subdues to union under its light yoke all irreconcilable things. Its secret alchemy turns to potable gold the poisonous waters which flow from death through life, it strips the veil of familiarity from the world and lays bare the naked and sleeping beauty which is the spirit of its form.” In very lyrical language (so lyrical that jaded postmoderns may find it a little hard to take seriously) he states two principles that are crucial to this inquiry. The first is that poetry strips the veil of familiarity from the world, it makes you see the world anew. This is the revelatory aspect of poetry. The second is that poetry somehow resolves all contradictions.

The Avant-Garde, Surrealism, and the Poetic Marvelous

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Now we are going to make a huge jump of nearly a century, to about 1912. Just before World War I, there was a proliferation of avant-garde modernist groups, which attacked artistic representation on many levels. Representation had already been partially challenged by the Impressionists and post-Impressionists in painting, and by the Symbolists in poetry — by Rimbaud and Mallarmé in particular. But now all these groups started really hacking away at it all across Europe. In Germany, there appeared Expressionism, which saw art and poetry as emanations of the human spirit rather than as descriptions of reality. In Russia, there appeared Futurism, which was trying to grab modern technology with one hand and Russia’s Slavic past with the other and ram them together, and which as part of this venture did things that would now be called deconstructionist, like reducing language to phonemes and roots and rebuilding it. In France, of course, the main avant-garde of this period was Cubism, which tried to show objects from several different directions at once, to dismantle traditional perspective. There were poets associated with this school too, of whom the most famous is probably Gertrude Stein.

Another Cubist poet, Pierre Reverdy, is more important for this essay. He is quoted in the first Manifesto of Surrealism as follows: “The image is a pure creation of the mind. It cannot be born from comparison, but from the juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be, the greater its emotional power and poetic reality.” The idea of poetry as pure creation, then, is one big strand in this phase of modernism; the other is variations on the theme of making things unfamiliar.

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Cubism Represents Its Own Literary Mag: Picasso, Nord-Sud, c. 1913

The premier exponents of this idea were the Russian Formalists (notably Victor Shklovsky) who tried to analyse how poems create the poetic effect. They concluded that poetry makes language unfamiliar by “baring its devices”: that is, it brings to the foreground elements that are in everyday speech — such as rhythm, sound, metaphor, comparison, and also grammar and syntax — and makes them completely inseparable from the content. So that, in a sense, they are the content.

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A montage of Futurist-Constructivist images from the Russian Revolution

This idea of defamiliarisation was later picked up by Bertolt Brecht. He extrapolated from it to argue that if poetry makes language unfamiliar, and language is the main means of thought, then maybe we can use poetry, including theater, to make social reality seem unfamiliar — so that the relationships of power and exploitation that are made to seem natural, inevitable, and eternal to working people won’t seem that way any more. He was aiming at a different kind of revelation, a revelation of social reality and its contradictions, rather than of the world’s eternal beauty or of some kind of Beyond. This is an interesting twist on Shelley’s idea of tearing off the veil of familiarity.

In the midst of all this avant-garde ferment came World War I — vast, unprecedented slaughter and chaos, using all the most modern technology in the service of greed and imperialism. As the initial patriotic fervor wore off and the full horror of the war began to sink in, a lot of people, combatants and otherwise, came to feel that the whole society was completely insane, and that the culture and economy that had produced the situation had to be rotten from top to bottom. In Russia, and soon after in Germany and Italy, this realization combined with hunger to produce working-class revolution. And all over Europe, artists set about tearing the culture to bits with every means at their disposal.

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Georg Grosz, The Great War

The most aggressive tendency in this assault was Dada, which started in Zurich and spread rapidly to New York, Paris, and Berlin. They used techniques like desecration (drawing a mustache on the Mona Lisa and retitling the result with an obscene play on words); attacking the audience with random noise or rotting groceries, or otherwise trying to shatter its expectations; making “art” out of rubbish found in the street or mass-produced objects; creating deliberately absurd, grating and grotesque language, costumes, paintings, and sculptures. Unfortunately, these once shocking techniques seem a little quaint to us, because every would-be avant-garde hack since then has used them over and over again until they’re completely worn out; in fact, many Dada techniques have made their way into fashion and advertising.

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Kurt Schwitters, Collage (Merzbild)

As early as 1922, André Breton and some of his friends in the French wing of Dada had already gotten fed up with it. They decided to find some kind of positive way out, not just from the culture, but from the whole existing reality. The first place they looked for weapons was the Freudian school, and the world of the unconscious and dreams. In the aftermath of the explosion of modernism that Dada triggered, they began to reinvent high Romanticism-but with a difference. This new hybrid was Surrealism. Like the Romantics, the Surrealists took the view that poetry isn’t fundamentally a matter of volition, but of inspiration. So they did all kinds of things to loosen themselves up, to get their unconsciouses talking. They did word games and collages, tried to simulate the writing of the insane, and sat around in cafés putting themselves into trances and talking or writing completely off the tops of their heads — really trying to be as out of control as possible.

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Andre Breton, Scientist of the Strange (Photomontage by Max Ernst)

Breton said: “We Surrealists are modest recording instruments, we have no talent.” Here is the Surrealists’ first major difference with Romanticism, which exalts the individual talent, the idea of genius. They called Surrealism “the communism of genius”: everybody had a subconscious, so everybody could be as creative as they were. Their other crucial innovation was to deliberately use the city as something between a labyrinth, a laboratory, a game board, and a stage set. They wandered around at random and let things happen to them, and they carried out experiments with coincidence, which they thought might be a higher and so far unexplained form of causality. Philippe Soupault, for instance, Breton’s earliest collaborator, used to go to apartment buildings in remote parts of Paris where he had never been before and ask the concierge if a man named Philippe Soupault lived there.

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Man Ray, A Surrealist Trance Session, 1923:

Robert Desnos at the typewriter

The aim of all this was to find what they, following earlier Romantic theorists, came to call the “poetic marvelous.” Breton says in the first Manifesto, 1924: “Let’s not mince words: the marvelous is always beautiful, anything marvelous is beautiful; in fact, only the marvelous is beautiful.” And in Nadja, a book about a woman that he met and fell in love with while he was wandering the streets, he adds: “Beauty will be convulsive or it will not be at all.” In a less well-known but more precise statement in his own unclassifiable Surrealist traveler’s tale, Paris Peasant, Louis Aragon, then a close comrade of Breton’s, wrote: “Reality is the apparent absence of contradiction. The marvelous is the eruption of contradiction within the real.”

In other words, what we call reality is a limited consensus that achieves coherence by leaving out or suppressing a great deal of potential experience; and when part of this suppressed potential bursts through and contradicts how we think about the world, this is the marvelous, the truth of poetry. Earlier, in his 1924 essay “A Wave of Dreams,” Aragon had written: “It should be understood that the real is a relation like any other. The essence of things is by no means linked to reality; there are other relations besides reality that the mind is capable of grasping and that are also primary, like chance, illusion, the fantastic, the dream. All these groups are united and brought into harmony in a single order — Surreality.” And Breton echoes: “I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a Surreality.”

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Marvelous Paris: Parc des Buttes-Chaumont, Bridge of the Suicides

On the one hand, then, the Surrealists sought out the marvelous as contradiction within official reality; and on the other, what they were ultimately trying to achieve — like Shelley — was this state beyond contradiction. But whereas Shelley only claimed that while you read a true poem certain contradictions are suspended, the Surrealists at first wanted actually to change the structure of reality so that there would be no more contradiction, period — no contradiction between being awake or asleep, between imagining and perceiving. And they were militant about provoking contradiction: they did their best to make themselves as obnoxious as possible to the ruling culture in France, by doing things like going to a banquet in honor of a French war hero and shouting out “Long live Germany!” They were constantly getting into fist-fights at theatre presentations and other cultural events. In this sense they were still in the line of Dada. In their Declaration of January 27, 1925, they say: “We have nothing to do with literature but we are quite capable when necessary of making use of it like anyone else. Surrealism is not a new means of expression or an easier one, or a metaphysic of poetry. It is a means of total liberation of the mind and of all that resembles it. We are determined to make a revolution (…) There is no means of action that we are not capable, when necessary, of employing(…) Surrealism is not a poetic form. It is a cry of the mind turning back on itself, and determined to break apart its fetters, even if it must be by material hammers.” We’ll get back to those material hammers in a minute, because some of them got tied to sickles on red flags.

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Workers demonstrate, Paris 1936

So Surrealism did not set out to be a poetic form or a means of expression. True, it privileged poetry — but not necessarily poetry in poems. As Breton says in the first Manifesto: “Poetry can also be an organizer if ever…we contemplate taking it seriously. The time is coming when it decrees the end of money and by itself will break the bread of heaven for the earth. There will again be gatherings on public squares and movements you never dared participate in. May you only take the trouble to practice poetry.” To practice poetry, presumably, would mean acting on the world in whatever way to produce the surrealist revolution, to generalize the marvelous into surreality. Within a few years, the movement had lost some of this radical edge — an edge partly sustained by refusing theoretical closure. By 1934, Tristan Tzara, a leading Dada who had an on-again, off-again relationship with Surrealism, wrote a piece called “The Situation of Poetry” in which he said: “Let us immediately denounce the misunderstanding that claimed to classify poetry as a means of expression, the poetry which distinguishes itself from novels only by its external form; the poetry that expresses either ideas or sentiments no longer interests anyone.” (Notice how that still sounds like Reverdy.) “To it I oppose poetry as an activity of the mind. One can be a poet without ever having written a line.”

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Passage de L’Opera, Paris: The Haunted Haunt of Louis Aragon

So far, so good. But then Tzara hits the banana peel: “There exists a quality of poetry in the street, in a commercial performance, anywhere (…) The confusion is great: it is poetic.” He can go around contemplating all these banal things, and by looking at them in a certain way, pow! he makes them poetic. He becomes a kind of tourist of the marvelous, and the marvelous becomes something to be consumed, not discovered or created. This attitude has everything to do with developments in the culture industry after about 1965, when large parts of its output became surrealist in this sense.

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Volkswagen ad, after Salavador Dali, c. 2008

To do them justice, one should point out that some of the Surrealists began to grasp this problem, even though the group’s magazine published Tzara’s essay. They began to think about those material hammers. In other words, they began to realize that the majority of people weren’t going to get into pursuing the marvelous by wandering the streets and doing automatic writing and reciting in trances, because they had to survive and feed their families. They were working ten hours a day, six days a week in factories, ground down by (and into) capitalist reality. The “liberation of the mind” that Breton and his group called the surrealist revolution was thus predicated on a social revolution that would liberate working people from toil and material deprivation.

The Surrealists were also being provoked on this point by a young Marxist intellectual called Pierre Naville, who told them, in essence: Put up or shut up. If you are really interested in revolution, you should join the revolutionary party. It’s called the Communist Party. And in 1926, after a lot of back and forth, four of them, including Breton, did join it. But they found that the Party didn’t really want them — and that they weren’t sure they wanted what the Party was becoming, either. In the USSR, the New Economic Policy was collapsing, and repression on all fronts was starting to increase. The radical cultural experimentation that had been going on since the revolution and even before was being suppressed; Socialist Realism, nineteenth-century academic realism in a new guise, was being made the official artistic doctrine. Ilya Ehrenberg, then the Soviet cultural attaché, called André Breton a pederast — as did the poet Paul Claudel, who was a Catholic protofascist. So the Surrealists got it from both sides. (Breton made a point of slapping Ehrenberg’s face on the street in response.)

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Communist Demonstrators, Paris, mid-1930s

At the same time, the Communist parties were becoming instruments of Soviet foreign policy rather than organizations dedicated to creating revolutions in their own countries. In fact, workers’ democracy in Russia had been wiped out a lot earlier, during the civil war and the period right after it. The Soviet Union was already ruled by a hard-headed and repressive bureaucracy, which Stalin was in the process of taking over, eliminating the last vestiges of the freedom opened up by the revolution of 1917. His main rival for the leadership of the new bureaucratic “Soviet” state was Leon Trotsky, Lenin’s former comrade in arms, founder and leader of the Red Army — and also ruthless crusher of the revolt of the sailors and dockworkers of Kronstadt against Bolshevik repression in 1921. But there was only room for one man at the top of the pyramid, and so the crude and ruthless thug Stalin drove the somwhat less ruthless intellectual Trotsky into exile and constant fear of assassination.

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The rebellious sailors of Kronstadt, massacred at Trotsky’s orders in 1921 when they called for real power to be returned to the workers’ councils

So the Surrealists backed the wrong horse at the wrong time and they pretty soon got shunted out of the Party and ended up with Trotsky’s Left Opposition. Trotsky was more sympathetic to them. He thought — at least from his position in exile — that artists should not be interfered with by the “socialist” state, made to produce propaganda. In 1938 he co-signed with Breton and Diego Rivera a Manifesto for an International Federation for Independent Revolutionary Art, arguing this position. But this “free art” idea was already a long step back from the Surrealists’ original conception, which saw artistic media as merely means to the end, surreality. Given the situation, though, this retreat was probably inevitable. The revolutionary wave had ebbed and political and cultural reaction was ascendant everywhere. The “International Federation” was stillborn, Trotsky was assassinated in Mexico. Breton and his friends were left high and dry on the shores of the old world. And because, contrary to their earlier protestations, they did have talent, they began to be absorbed back into art and literature.

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Max Ernst, My Absolute, 1934

The poets and painters developed careers, and some of them rejoined the Communist party, like Paul Eluard, who became one of the most famous poets in France. Max Ernst also did very well for himself, winning numerous prizes for his painting and sculpture. So Surrealism as project for transforming reality and opposed to culture collapsed; it became another artistic school. Many of its techniques, like those of Cubism, Dada, and Futurism before it, turned up in advertising and mass culture generally: they are now commonplace. In fact, because Surrealism concerned itself directly with the unconscious and with desire, its imagery was especially adaptable to the ends of the culture industry, whose business is the channeling of desire into appetite for commodities.

The Situationists: Lived Poetry

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Paris, 1950s

I want to make a much shorter jump now, right over World War II, but we’re still in Paris. On the Left Bank, where there was a group of young artists, ex-artists and ex-students, including a young guy of Russian extraction called Ivan Tcheglov, who called himself Gilles Ivain. In 1953, three years before Octavio Paz published The Bow and the Lyre, Tcheglov writes an essay called “Formulary for New Urbanism,” which he begins as follows: “We are bored in the city. There is no longer any Temple of the Sun…” He goes on to say that the Surrealist ways of having adventures in Paris were all very well in their day, but that they are now worn out, and the whole culture is pretty desiccated. He continues: “A mental disease has swept the planet: banalization. Everyone is hypnotized by production and conveniences — sewage system, elevator, bathroom, washing machine. This state of affairs, arising out of poverty, has overshot its ultimate goal; the liberation of man from material cares has become an obsessive image hanging over the present. Presented with the alternative of love or a garbage disposal unit, young people of all countries have chosen the garbage disposal unit.”

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One of Tcheglov’s inspirations: The temple at the Buttes-Chaumont

Tcheglov’s critique here is firmly within the Romantic tradition. Shelley argued — as did Marx — that we must get control of all the productive power that human beings have created, and that is now just enslaving most of us. Tcheglov is saying very much the same thing, well over a century later. (Notice also the emphasis on desire, which is a crucial Romantic concept.) He goes on to argue that the new project in art and culture has to be the building of entirely new cities: “The city could be envisaged in the form of an arbitrary assemblage of castles, grottoes, lakes, etc… it would be the Baroque stage of urbanism considered as a means of knowledge(…) The districts of this city could correspond to the whole spectrum of diverse feelings that one encounters by chance in everyday life. Bizarre Quarter — Happy Quarter (especially reserved for habitation) — Noble and Tragic Quarter (for good children) — Historical Quarter (museums and schools) — Useful Quarter (hospitals, workshops) — Sinister Quarter, etc… The Sinister Quarter would be a good replacement for those hellholes that many peoples once possessed in their capitals: they symbolized all the evil forces of life. The Sinister Quarter would have no need to harbor real dangers such as traps, dungeons, or mines. It would be difficult to get into, with a hideous decor (piercing whistles, alarm bells, sirens wailing intermittently, grotesque sculptures and power-driven mobiles called Auto-mobiles) and as poorly lit at night as it is blindingly lit in the day by an intensive use of reflection. At the center, the ‘Square of the Appalling Mobile’.” Perhaps most scandalous of all, the main activity of people in this city would be just to wander around.

Tcheglov, shortly after he wrote this, had a complete breakdown and spent the next twenty years in psychiatric hospitals; but he went on corresponding intermittently with his friends. At the core of this loose group was Guy Debord, a young filmmaker and sometime avant-garde poet. In 1957-8, Debord pulled together avant-garde artists and anti-artists from various parts of Europe and North Africa to create an organization called the Situationist International, which set about trying to realize Tcheglov’s program.

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The Situationists: Michelle Bernstein, Guy Debord, and others, late 1950s

In a founding text of the Situationist International (hereafter the SI), the first thing Debord does is to settle accounts with the old avant-gardes and their inadequacies, including Surrealism: “The Surrealist program of asserting the sovereignty of desire and surprise and proposing a new use of life is much richer in constructive possibilities than is generally thought.” However, the movement has degenerated, and we have to go back to where the theory came from to find out where it went wrong — which, Debord asserts, is “the idea of the infinite richness of the subconscious imagination. We now know that the unconscious imagination is poor, that automatic writing is monotonous,” and that discerning people have gotten very tired of Surrealism’s ostentatious weirdness. “The very success of Surrealism has a lot to do with the fact that the most modern side of this society’s ideology openly uses the irrational, including vestiges of Surrealism.”

Debord goes on to define what he means by the construction of situations. This, following Tcheglov, begins with the creation of an architectural environment based on the feelings that different kinds of urban space give people, and also on the historic and cultural resonances of those spaces, the kinds of gestures that usually go on in them: the resonance of the castle, of the dark alley, of the little park, of the door in the wall of the hidden garden, of overhanging houses or arcades… These spaces would be used as “sets,” creators of mood and physical possibility, both for wandering and for organized encounters; encounters not in the sense of an “encounter group,” but of a number of people who have agreed to cooperate in pursuing some collective experience over a period of time and structured by certain rules. According to the rules agreed upon, the experience could go more or less anywhere, from an afternoon’s diversion to the most serious consequences — revelation, passionate love, intense enmity, psychic and even bodily risk. It would be play — serious play, not the tepid play offered as merchandise by this civilization. This is what the SI called a constructed situation.

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A psychogeographical map of Paris

The SI, then, proposed an experimentalism of everyday life, leading to the creation of such an ever-changing urban environment as the realization of art. Rather than doing what the Surrealists did with Paris, which was to wander around waiting for marvelous or poetic events, they proposed to make these events happen, to provoke them actively. At the outset, the Situationists thought they might be able to build a city and maintain it by tourism; they were going to create a kind of poetic Las Vegas or Disneyland through which people could just wander and have bizarre or lyrical or passionate experiences. But they soon realized that this wasn’t practical: it would be hard to finance, the mafia and the other corporations might not be interested in it. So they began to realize, much as the Surrealists realized before them, that they were going to have to change the whole society in order to implement their program.

Actually, like Tcheglov, the SI had radically criticized this society from the start. The Situationists argued that capitalism in the developed countries has merely reproduced poverty at a higher level. Most people spend their lives going through routines, like doing boring, empty jobs that often have no socially useful result, shopping in supermarkets, watching TV, and commuting. This results in an infinite extension of survival — one is forced to consume more and more goods and services, to work harder and harder — while life, in the sense of play, adventure, profound experience, connection with the universe, is lost. The substitute for this lost life is the consumption of what the SI called spectacles. This means not only commercialized entertainment, but all of existing culture insofar as it is consumed passively, as an alienated creativity cut off from daily life and reinforcing the passivity of its consumers.

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In the empire of passivity: caught by the spectacle’s primary weapon

The Situationists rapidly broadened the concept of spectacle to include the whole way that capitalist society organizes appearances as part of its organization of time and space. For instance, the automobile is part of the spectacle because it puts you in a metal box among many other metal boxes, traveling along a homogeneous highway isolated from other drivers, from the landscape, and from everything else. This reinforces the isolation imposed by the nuclear family, by television, and ultimately by the whole system of work for pay. The driver’s situation also pressures you to be individualistic, competitive, defensive, even paranoid — which is just the way that the powers that be would like to have you.

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The truth of the automobile: the Jail Car

Moreover, social space organized around the automobile tends to isolate people further. The close connections between workplace and neighborhood that were so integral to the development of the old working-class movement have been suppressed. As a result, a large-scale movement for a genuinely democratic and communal society becomes almost as difficult to imagine as it is to accomplish. The SI called the automobile the star commodity of modern capitalism, because it does all that.

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On the spectacle’s circular freeway: the “same dull round” of daily life

For the SI, then, the practice of art in the accepted sense of the term quickly became impossible. Given capitalism’s near-total control over daily life and the enormous power of its media, art as a separate form of creativity had lost all subversive potential-indeed, all real meaning beyond its entertainment value. The project of the artistic avant-gardes, culminating in Surrealism, had failed.

In particular, language was being reduced to a mere carrier of information or means of propaganda. “We live within language as within polluted air,” wrote the Situationists in “All The King’s Men.” “In spite of what humorists think, words do not play. Nor do they make love, as Breton thought, except in dreams. Words work — on behalf of the dominant organization of life (…) Under the control of power, language always designates something other than authentic experience. It is precisely for this reason that a total contestation is possible (…) What is poetry if not the revolutionary moment of language, inseparable as such from the revolutionary moments of history and from the history of personal life?” But power has a “stranglehold” over language. Thus, today, “poetry must be understood as immediate communication within reality and as real alteration of that reality. It is nothing other than liberated language, language that breaks its rigid significations and simultaneously embraces words, music, cries, gestures, painting, mathematics, facts, acts (…) Realizing poetry means nothing less than simultaneously and inseparably creating events and their language.”

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“The simultaneous creation of events and their language”?

For the SI, then, poetry and revolution were inseparable. “Every revolution has been born in poetry, has first of all been made with the force of poetry (…) The moment of real poetry, which has ‘all the time in the world before it,’ invariably wants to reorient the entire world and the entire future to its own ends.” But the essay also warns: “It is a matter not of putting poetry at the service of revolution, but rather of putting revolution at the service of poetry… We will not repeat the mistake of the Surrealists, who put themselves at the service of the revolution right when it ceased to exist.” And poetry itself is radically redefined: “What we are calling poetic adventure is difficult, dangerous, and never guaranteed(…) We can only be sure about what is no longer the poetic adventure of an era: its false, officially tolerated poetry. Thus, where Surrealism in the heyday of its assault(…) could rightly define its arsenal as ‘poetry without poems if necessary,’ it is now a matter for the SI of a poetry necessarily without poems.”

durutti_is12_vi“Yes, Marx’s thought is really a critique of everyday life”

I first read the Situationists when I was twenty years old. They forced me to ask myself, as a person who wanted their kind of revolution more than anything in the world, whether I should go on writing poems at all. I was in France in June 1968, and I saw the aftermath of the the events which the SI helped to provoke, which was a youth uprising that triggered a mass strike and workplace occupation by ten million workers. Situationist ideas had become popular not only among students, but among young workers in some of the large factories. Besides the timidity and leftover authoritarianism of the workers themselves, it was only the systematic intervention of the Communist and Socialist trade unions that prevented workers from forming their own autonomous assemblies and starting to take positive control over social life — resuming production and distribution according to their own desires and under their own management, in what the Polish workers later called “active strike,” the first real step of social revolution.

Meanwhile, the most astonishing graffiti were appearing all over the walls, expressing the new psychic freedom that the strike had brought by liberating people’s time from work: “Under the paving-stones, the beach,” “Run fast, comrade, the old world is behind you,” “Revolution is the ecstasy of history,” “Why not offer your lover the magnificent bed of a revolution?” This was what the SI meant by “the simultaneous creation of events and their language.” So I thought: What is the point of writing poetry? It doesn’t reach very many people, and it seems a poor substitute for this collective adventure, this poetic transformation of reality.

occupied_factory_may68

An occupied factory, France May 1968

Conclusions: The Uses of the Poem

poetic graffitto_2

A poem in the open, author unknown

One part of the answer I came to is the dimension of revelation that the Surrealists pursued so intensely, but that the Situationists mostly ignored. Poems can be revelatory in various ways. One way has to with profoundly painful human experiences, like rejection, personal loss, old age, illness, and death — experiences that no conceivable social transformation would eliminate, and that open up whole new areas of the psyche when properly grasped. Poems can help one achieve that grasp: I think of Zen death poems, for instance, or Thomas Nashe’s “Brightness falls from the air,” or the funeral chants of the Aztecs. Another way that poetry reveals is in highlighting one’s own internal contradictions. I find that the contradictions of this society run right through me. Like earthquake faults, some of these cracks store enormous energies, and poems can help me find my way to them, as well as reveal traps and self-delusions.

zoas_mundane_shell

The Mundane Shell and the Eternal Humanity:

William Blake, from Milton: A Poem

Still another way is the access poems can give to “nonordinary” states of consciousness. Now, one could argue — I just have — that poetry itself is a nonordinary state of consciousness; but I think there are others, to which poetry is as, say, the Mediterranean to the Atlantic. Beyond its Gibraltar is what Auden called “the immense improbable atlas” of the unknown, the unexpressed and perhaps inexpressible — the vertiginous beauty that the Surrealists glimpsed as the marvelous.

chirico_map

“The immense improbable atlas”: Di Chirico, “Metaphysical Interior”

Of course, we seldom pass beyond these straits into the wider ocean; but we catch sight of it sometimes, and sometimes its creatures come to us — great forms surfacing that can capsize our small craft if not treated with respect.

Despite their disagreements, both the Surrealists and the Situationists understood that real poetry is always risky, transgressive: it flourishes at the edge of what we know, shatters certainties, breaks open what William Blake called the Mundane Shell. And it restores knowledge that centuries of undialectical rationalist thought have stripped from us — intuitive and affectionate knowledge of the planet’s life-systems that, if we are not to destroy these systems and ourselves as well, we must recover quickly. Blake’s poem “Auguries of Innocence” — “A robin redbreast in a cage / puts all heaven in a rage” — is a primer of this recovery. More humbly, perhaps, poetry continually reveals to me the meaning-potential of language itself, and the pleasures afforded by releasing this potential. To make language do things that it hasn’t done before, make it incrementally new… When I read poems that do that (and sometimes, I like to think, write them) some part of me is salvaged from the (currently rather battered and rusty) stainless mandibles of capitalism’s global work-machine, and I think in that sense alone it is worthwhile. Put less pretentiously: when I read a good poem, it helps to keep me sane and spiritually alive one day longer. But the fact that I get that out of poetry doesn’t free me personally, at any rate, of the need to do more than write poems. I really want to see poetry win.

Brassai-Escalier-de-la-butte-Montmartre-207893

Brassai, Escalier de la butte Montmartre

06
Mar
09

FOUNDER’S SYNDROME

for Daniel Steven Crafts

No-one I have ever met at the company has encountered the Founder
His personal suite may not even be in our world headquarters building
Certainly none of the elevators even the executive one go to his floor
The Office of the President handles all correspondence and messages
channeled through squads of administrative assistants and managers
Apparently he has left detailed instructions with them but answers
his phone and email very unpredictably and often incomprehensibly

The Board of course claims to be in regular contact with the Founder
but Board members argue with each other about what he actually said
The Vice-Presidents pass on what they claim are the Founder’s memos
but again these long screeds are often in contradiction with each other or
with instructions issued by the Vice-Presidents to their own divisions

The divisional feuds over interpretations of the Founder’s principles
even trivial ones continue to be acute and often vicious especially lately
as questions about the Founder’s real role and intentions keep piling up
His maxims Treat your coworkers as you would want to be treated
but show the competition no mercy The goal is global market saturation

have begun to seem outdated and narrow There are mounting complaints
about the Founder’s view of women They do best in support roles he wrote
Most of my colleagues think the Founder still plays a role in the company
They see evidence of his handiwork in our complex organization
or in amazing new product lines they say no-one else could have designed

But fact checkers have found more and more flaws in his famous book
The Story of a Company and there are questions too about the accuracy
of the several sequels written supposedly by his original Vice-Presidents
There are real doubts now about whether the Founder wrote it at all
For one thing the company is actually far older than the Story claims
and many of what are claimed to be its products seem to have been
already on the market long before the founding date in the Story
while other products have turned up with old versions of our logo
that neither the Story nor the various sequels and digests mention at all

More and more staffers in the Research departments have quietly concluded
that the Founder has never existed and that the company came into being
by some other process altogether probably very gradual with sudden bursts
of change every long once in a while involving many more employees
They say the Founder is a convenient fiction like Big Brother in 1984
designed to provide an ultimate justification for any company policy
and for the authority of the Office of the President and the divisional VPs

Meanwhile the old policy guidelines seem increasingly ineffective
as the Founder’s stern face framed in white mane and magnificent beard
looks down from murals or up from our brochures and prospectuses
The problems keep on piling up the company’s systems are failing
IT networks going down the building’s energy and air controls shaky
In bathrooms and cafeterias I hear more and more of my co-workers asking
Couldn’t we do a better job of running the company together ourselves?

05
Mar
09

Letter to a Young Videographer

I sent this message (here slightly edited) to a woman whose short experimental video I had seen and admired when she deprecated herself as “not brilliant.” I’m not giving her last name or the URL for the video–which is graceful, hypnotic, evocative, and quite lovely–unless and until she gives the OK.

Hello Cassandra,

(…)

Thinking back to my own beginnings as an artist of language–which is preeminently my medium, though I have also been, in a small way, a graphic artist and cartoonist–I remember a kind of two-track process. One track was my slowly and painfully apprenticing myself as a maker of verse to teachers, both living/present and remote/dead, who I thought I could learn the craft from. Specifically, I was lucky enough, at 16, to encounter the senior English master at my boarding school, Harold Gardiner, to whom I hesitantly showed some of my first efforts. Harold encouraged me and criticized my technique gently but honestly, meanwhile introducing me to Chaucer and taking me deeper into Shakespeare than I would go before my senior year at UCSC. At the same time, I was avidly reading Ezra Pound (who was not taught in England at the time but whom I had found via T.S. Eliot, still in those days the colossus of Anglo-Saxon modernism) and took up his suggestion that an aspiring poet should write a sonnet every morning before breakfast. I kept it up for ten days, starting in semidarkness at 5:30 am with a flashlight, and often didn’t get “breakfast” until lunchtime–or not at all. The results were predictably uneven to say the least, but one or two were not actually embarrassing.

The other track was that, within perhaps a year of my starting this process, real poems, as effortlessly accomplished as if written by someone else much more mature, began to arrive from time to time. I would say that over a two-year period there were perhaps six of these: poems I can read now with the sense that the author was young, but seemingly in control, as they say, of his materials. There was no consistency whatever to the “voice” of these poems or to the style. One would be in incantatory form, another in a graceful free verse, still another in a six-line stanza of quatrain and couplet in a waltz-like iambic trimeter. What they had in common was an underlying theme of initiation and revelation. At about this time, I also got a lot of support, recommendations for reading, and good feedback (…) from the terrific (recently deceased) English poet Thom Gunn who had already moved out here and was living in SF, teaching part-time at Cal while immersed in the South-of-Market leather/biker scene and beginning to experiment with acid. He turned me on to Pound’s versions of classical Chinese poetry, to Kenneth Rexroth and William Carlos Williams, and to Jean Genet, among others. (…) We corresponded for most of two years on and off, and he was incredibly generous with me. He’s partly why I stayed here once I got here. I bless his memory and his clarifying influence.

Most of four decades later, my ratio of hits to misses has greatly improved because I have accumulated a lot of technical chops, just by pushing my own limits and by struggling to incorporate rhythms, sound patterns, kinds of syntax or the lack of it, and what I can only call “flavors” that I see/taste in other people’s work. I continue to be influenced constantly–I see something another poet is doing and want to try something like it. I’m like a cannibal who ritually devours particular parts of the bodies of his slain enemies so as to acquire their power! So in some sense my apprenticeship never ends. I have no idea what sort of poem I will make from one poem or sequence to the next. The fine experimentalist poet Alice Notley, at least as formally and thematically various as I am, once told me that she begins a new sequence or project by casting around for a kind of poem no-one else is writing and that she would like to read, and then she tries to write it. I think something of the kind is what I do. Given that much of what I want to do fits in no-one’s camp or coterie and is often unfashionable, I find myself an outsider most of the time. This may mean I am to be swept into oblivion, or it may mean that my work will be “rediscovered” either while I’m still alive or at some point after I’m dead. I have no way to know. All I can do is make the work that “taps at the window,” as Andre Breton says.

If I may make a suggestion to you, Cassandra, it is this: cherish your gift. For you undoubtedly have one. The reason I told you at some length about my own apprenticeship as a maker is to indicate that the “You” that makes poems is bigger by far than the self-awareness that you are accustomed to think of as “you.” This is a scientific truth—previously interpreted by the Greeks as being possessed by the Muse or the Daemon, by West African tradition as being “ridden” by a god, and so forth. According to cognitive neuroscience, about 85% or more of our thinking and decisionmaking is done before we become consciously aware of it. So while “you” may not feel (or be) brilliant, “You”—the much larger processing capacity of your unconscious mind in tandem with the internalized sign-systems of the culture and your own personal emotions and memories—can be quite brilliant indeed. Intuition in artmaking is the ability to allow this fusion of unconscious mental activity, personal desire/feeling, and internalized culture/language to do its (Your) work.

Cognitive science says that most of the decisions we actually make at a conscious level are negative ones: as when, for example, driving the first part of a familiar route, we have to decide not to go the usual way on “automatic pilot” while listening to music or thinking about an upcoming date or whatever, and set the course to where we actually need to go. I think something analogous happens in artmaking. In a 1934 letter to my father’s older brother John, then a student at Cambridge but shortly to be killed fighting the fascists in the Spanish Civil War, the poet W.H. Auden spoke of two principles or forces active in him during composition–the Daemon and the Prig. The Daemon, as in Greek artistic thinking, is the wild energy of creativity and desire, the force which possesses the maker. The Prig is the nay-sayer, the controller and sorter. Auden said that he tried to keep the two balanced in himself: if the Daemon got out of hand, the work became sloppy and excessive; if the Prig was given too much power, the work would be timid, stifled, conventional.

My guess is that these two forces of Auden’s correspond respectively to the energized unconscious creative/synthetic process and to the conscious negative intervention described in modern neuroscience. (I got this from an amazing book, The User Illusion: Cutting Consciousness Down to Size, by Tor Norretranders.) William Blake’s personifications of these psychic forces in his prophetic poems are Orc, the fiery, passionate rebel slave, and Urizen, the controlling, coldly analytical authority-figure. (Auden, who read Blake, may have found them there and renamed them.)

Goodness. How I do go on, as a lover once said to me with affectionate exasperation. As to the tumultuous life you lead, I can only say that my mentors, like Thom, have led tumultuous lives too—as have I—and have found the fierce and sometimes strenuous discipline of artmaking a wonderful counter to that tumult. Thom said something to the effect that artists with chaotic lives tend to make orderly art—he was something of a neoclassicist who often wrote in traditional or semitraditional forms. My life, perhaps less chaotic though certainly quite adventurous, has engendered work that is more “outside” in a jazz sense than most of Thom’s but always in some way formally controlled and thought-through. It seems to me, on very limited acquaintance, that you have similar tendencies.

I guess I would summarize as follows: take yourself very seriously indeed as an apprentice maker while you strenuously acquire technique and control, but try to relax that seriousness when you set out to make work that you feel is coming from a deep and strong impulse. The way John Coltrane (I think) put it was simpler. He said: “First you learn everything there is to learn about your instrument. Then you forget all that shit and blow.”

Cheers,

Adam

14
Feb
09

The Baker and the Sailor: A Ballad for Valentine’s Day

One sunset a tall old sailor,
With a sailor’s rolling stride,
Came up the steep-shadowed harbor street
At the turning of the tide.

With his kit slung over his shoulder,
He passed with lowered head
By tavern doors and dockside whores—
Till he smelled fresh-baked bread.

He raised his long face to the evening
Like a gray wolf sniffing the air,
Then he followed the scent, as if he went
In search of something rare.

At last he saw a shop doorway
On a long-forgotten street;
It was open wide, and from inside
Came that invitation sweet.

The sailor walked up to the counter,
He stared at each crowded rack—
At the loaves and the pies—with awakening eyes,
Till a woman came out from the back.

She was short and round and shapely,
With hair as brown as rye,
And pink was her cheek as she started to speak
And a brightness was in her eye.

She dusted her hands on her apron,
“What do you need?” she said.
Long the sailor stood there with his silent stare
In her little heaven of bread,

Until at last he answered:
“I need a harbor,” said he,
“In a sheltered bay, where by night and day
“I find tranquility.

“I’ve traveled the five wide oceans
“Under many a windy sky,
“I’ve laid my head in many a wild bed
And drunk the moon’s keg dry.

“My will is caulked like a prison hulk
“And my soul is patched like a sail,
“From forty years of battering tears
“Blown on my heart’s own gale,

“And now I seek for a captain
“A woman sturdy and kind,
“Who’ll give me a berth on this rolling earth
“Where we’ll share both body and mind.”

The baker smiled up at the sailor:
“As it happens, I’m looking for crew.
“Though I’m sailing late, I want a first mate
“To see this voyage through.

“As a girl I steered far from my village
“And my church with its grip of stone
“And I didn’t stop, till I’d built this shop
“For a world I could call my own.

“But now I’m missing the moonlight
“In my oven’s embracing glow,
“And I want to try the scope of the sky
“While I still have breath to go.

“So I’m looking for a helmsman
“Who knows the clouds and the rain,
“Who’ll steer right on from dusk to dawn
“Through the nights of joy and pain.”

“Oh I will be your helmsman
“And steer the course you plot,
“And with tarry twine, your hand to mine
“I’ll bind in a sailor’s knot,

“And I will fetch in your water,
“And I will feed your fire,
“And set out each cake and each loaf you bake
“To your customers’ desire.

“Then past midnight we will voyage
“In your bed of eiderdown,
“On a gentle gale, with a silken sail
“We’ll float above the town.

“With the compass of caresses
“We’ll steer through the clouds and the rain,
“Past the lantern of Mars, on currents of stars
“And at dawn turn home again.”

Then he came around the counter
And knelt in the flour at her feet,
Till she raised his head, and his mouth she fed
With the cakes of kisses sweet.

On a gold-leaf day in October
The baker and sailor were wed,
And every day after, through quarrels and laughter,
Together they broke bread.

for Dianna

09
Feb
09

MAPP Report: Back to the Mission

On Saturday night, at the kind invitation of my good friend and former colleague Theresa Dickinson, a renowned dancer and choreographer, and of our many-gifted former student Tony Bravo (yes, that really is his name!) I gave my first poetry reading in a couple of years.

The reading was part of the Mission Arts & Performance Project (MAPP), which has been going for a couple of years now, I believe. MAPP is gathering steam as a street-level, all-free mini-festival held mostly in small gallery and performance spaces — and in organizers’ homes. For my readers not lucky enough to live in the San Francisco Bay Area, the Mission is the city’s oldest neighborhood, grown up around Mission Dolores out of the Spanish settler village of Yerba Buena. Today it’s a mix of Latinos — four decades ago it was the city’s barrio and pretty thoroughly working-class — young hipsters and queers, and the repulsively affluent and entitled species we used to call yuppies, who have been encroaching on the neighborhood in the usual pattern of gentrification.

My own relationship to the Mission is complicated and of long standing. My first full-time white-collar job after grad school in 1976 was as a counselor at Horizons Unlimited, an organization providing after-school jobs, on-the-job training, and tutoring to what were then called “at-risk youth” in the Mission area. I became successively a tutor and then Project Director (COO) over the course of the next four years until I went into a teacher education program. Then, in 1987, I came back to teach at New College of California, where I remained as a professor until the College collapsed under the weight of its accumulated contradictions and the stubbornly narcissistic incompetence of its leadership in January 2008. I went back to Oakland to lick my wounds, pretty much unable to stand the sight of that block of Valencia where I had spent so much of my life.

Theresa, by contrast, never left. She has been living in the Mission for a very long time; she owns a large Victorian on Folsom she bought back in the early 1970s. Today she rents most of it out and spends the bulk of her time in her little homestead up north. The part of this MAPP I was involved in took place in a large room on the second floor of this house. One end was filled with miscellaneous couches and chairs and the other end was the stage area. At the start there were about 25 people seated and a few more on the landing outside. I was somewhat disconcerted to see that about 50% of the audience turned over at the end of each act. So it was not quite what I had expected — a sort of high-end cabaret — and more of a series of coterie performances that just occurred in the same space.

The first act was a singer/songwriter named Anne Carol. A talented singer and guitarist who began with a setting of a Judy Grahn poem called “Moonarchy,” Ms. Carol seemed to me to fall into two classic and related novice traps in the genre: songs that run on too long, and a lack of melodic inventiveness. Good musical ideas and sometimes poetic lyrics were overworked in several songs to the point of numbness, especially by the repetition of very basic riffs. Relief came when Ms. Carol sang a bluesy duet with a singer/spoken word artist who performs as Mama CoAtl, a Latina who injected some needed concreteness and edge with heartfelt lyrics about the plight of Mexican women whose men have crossed la frontera to earn money for their families and disappeared, while the wives struggle to survive in the brutal, low-wage maquiladoras of places like Ciudad Juarez.

Next up was Theresa herself, who performed a dance to the song “A Change is Gonna Come,” originally choreographed in 1973 when she was leading her troupe Tumbleweed. Mama CoAtl sang a somewhat updated version of the lyric while a sax player and guitarist, both original Tumbleweed members, accompanied. Theresa, who is small and fine-boned, performed this quite athletic and demanding piece, full of long angular movements that curled back into ascending curves, with amazing, confident grace that also reflected her more recent work with contact improvisation in her troupe ZaZa. Had you not seen her beautiful, deeply lined brown face and iron-gray hair, you would have thought you were watching a dancer four decades younger.

Third on the bill was Tony Bravo, to whom the word “flamboyant” does not do justice. Tony has the face of a depraved blond cherub and mannerisms that fall somewhere between Quentin Crisp and Bette Davis. Accompanied on keyboard by his longtime mentoress and collaborator Mrs. Bohnye Bice, he alternated between his own ironically witty, Dorothy-Parker-ish verses inscribed on large red contact-paper hearts and singing standards that included “Where or When,” “Bewitched, Bothered, and Bewildered,” and “Tell Me on a Sunday.” Tony’s theme throughout was romantic disappointment, and the passion and bitterness kept mounting and pushing at the ironic wit until they broke through. Tony manifests a face of gay male culture that in these metrosexual days may be in danger of disappearing, but which I love: the queeny ability to wrap layers of intense feeling and camp irony around each other like a kind of vol-au-vent pastry with a bittersweet filling. I am delighted to see him carry it forward into his own generation.

Then it was my turn. I experienced near-panic as, once again half the audience scrambled for the exits. About ten more came in and sat down, though, to my intense relief. So I began by channeling Noel Coward with a reading of this lyric, inspired by the presidential campaign of John McCain:

TELL SOME MORE LIES

When someone digs around
And posts what they have found
About a bogus claim that you have made
It’s true you did distort
But memories are short
And there’s a way to make them quickly fade…
Don’t pause, don’t blink
Don’t give them time to think
Stand up and look them in the eyes
And tell some more lies

Although you voted for
The bills they now deplore
That led to millions losing all they had
Yes, your legislative record
Is nothing if not checkered
But here’s a way to make it not so bad…
Get mad, talk loud
Say your country makes you proud
Do as your strategists advise
And stick to those lies

[Bridge:]
You’re caught in one more contradiction
Or it’s revealed your ads are fiction
Don’t let such trifles cause you friction
Just boost up your capacity
For truly grand mendacity
And with pit-bull tenacity
Ignore the opposition’s cries
Grip tight to those lies

You held to your opinion
And you were no-one’s minion
At least until you read your party’s polls
So now it’s on the news
That you’ve reversed your views
But here’s the way to patch your story’s holes…
Don’t admit, don’t cave
Wave your fist and rant and rave
Increase the volume and the size
Of your collection of lies

You spread a stinking smear
On the other guy’s career
And ten reporters prove it isn’t true
And then they show you hid
The far worse deeds you did
Just do what Papa Goebbels said to do…
Don’t flinch, don’t stop
On your scramble to the top
Whatever problems might arise
Just tell some more lies
(Make them some whoppers…)
Tell some more lies!

From there I went to another lyric, my farewell waltz to the former Vice-President:

THE PUPPET PUPPET-MASTER

In his underground office
He squats like a toad
Composing instructions
In his own private code
Then he reads the reports
While his orders upload
And nurse gives him his shot
He’s annoyed that he’s not
Obeyed faster
He’s a power for the powerful
The drive of their drill
He’s the puppet
Puppet-master

With wireless connections
Of money and fear
He’s controlled the elected
All through his career
His replaceable faces
All wear the same sneer
Whatever his game
They’re all cast in the same
Painted plaster
He’s the billionaire’s bully
The grip of their greed
He’s their puppet
Puppet-master
High over his hideout
Amid gracious estates

In a spacious white mansion
His wilted wife waits
Demurely directing
The placement of plates
With his new stainless parts
His two silicone hearts
He thinks he might even
Outlast her
He’ll get a new model
As a little reward
For a puppet
Puppet-master

Surrounded by secrets
In coffins of steel
His monitors feeding him
Maps of the real
He maneuvers his pawns
Through deal after deal
Though the toxins keep spreading
And his sores never heal
Though his wars never mend
Though the trend-lines all end
In disaster
He’ll keep doing as he’s wired
Till the day he’s retired
As their puppet
Puppet-master

Then I read a couple more poems, one of which I can’t reproduce here because of the somewhat complicated page layout involving spacing and right-justified lines. The other was this “portrait” developed out of the paintings of Kay Sage, a piece I described as what happens when classical training collides with a surrealist sensibility:

EGG-HEAD: PORTRAIT IN A LANDSCAPE
for Kay Sage

The egg-head wanders his white unfinished mansion amid broken furniture
part-covered He too is shrouded in a dust-sheet like a cape of longing
The mansion must always be unfinished under construction though silent

built without a plan staircases leading to blank walls or doors into space
cantilevered decks and causeways unrailed between high empty turrets
libraries without doors whose every volume is a window onto pale sky

printed with cloudlight in an unknown script anyway too faint to decipher
In the vaulted hall with its chessboard tiles the ghost-women in their robes
glide ceremoniously yet sensually in their endless move and countermove

fluid white samite draping their heads their invisible hips and shoulders
So many ghosts now the egg-head has lost count yet the game goes on
Beneath his dust-sheet a dense echo of the spectral drapery the egg-head

rides a body assembled from ball-jointed rods like a lay-figure’s limbs
his ribs and pelvis aluminum struts and sections from dismantled bombers
The afterlight of Tokyo and Dresden phosphorus glows through his skull

He looks out over the endless plain of the everyday to the burnt horizon
the retinal scorch of napalm and the green heat-image of Baghdad burning
the world’s windows fused to a shallow lake of irradiated glass in the desert

holding the chalky clouds like fossil fish in its dish of melted and fused time
beyond the walls of the egg-head’s immense white wayward cubist fortress
The egg-head’s face if he has one at all is concealed by his elaborate mask

The mask like a streamlined curvilinear skull-cage of steel strips and bolts
holds a swiveling array of lenses that he continually shifts across his gaze
lenses that magnify traces of infamy, lenses that focus the Empyrean blaze

between world’s end and God, lenses that show water’s veins and arteries
and the intestines of demons or the smooth vaporous faces of his ghosts
lenses that reveal the mercury neural tracery of money between everything

that display numbers the blood of the universe streaming in the firmament
lenses that capture the enigmatic gestures of the wind among the towers
fronting the scrolled sierra at the end of the aerial causeway from his home

The entire teeming city of noises and smells and body-traffic in between
has seemingly vanished leaving only skyscrapers of scaffolding ascending
from the fog each one containing the mummy of an angel wound in canvas

The egg-head shuffles his lenses like circular glass cards transparent coins
as he examines the large bodiless eggs disposed on his balconies and patios
The egg-head believes they will hatch into mechanical songbirds or snakes

He stares out across the invisible city full of people he cannot hear or touch
Jeweler’s loupes telescopes interferometers magnetic imagers heat sensors
rotate on their geared arms across the hidden places where his eyes must be

The motion grinds at his skull in its cage driving perspectives like spikes
into his brain behind the swooping intersecting metal ribs across his face
his hair rising from his head like dead grass from a boulder wound in wire

The egg-head turns from the city’s unreachable crowds and the vacant sky
He walks clicking along colonnades back to his study a half-finished heaven
The lenses are filling his brain’s coiled glass nautilus cells with clear gel

Soon despite the complex windings and attachments round his smooth skull
its top will split open and enormous dragonflies like double-barred ankhs
haloed with vision will climb precisely out over shattered glass and bone and

veer away Their clearglitter wings waking maps their maker has abandoned
they zoom over women who at long last can reveal their true faces sauntering
with unraveled grace down streets blossoming to speech under a green sky

I concluded with “To See the Black Angel,” already posted here. As I began to read it I felt something happen in me that I had not felt for a long time: the presence of what the Greeks called the daimon and Lorca called the duende: a dark, wild force that takes over in performance so that the work speaks itself through one. My voice deepened and began to shake a little as my body trembled with the energy. The audience, perhaps a little lost in the intricacies of “The Egg-Head,” was galvanized. I claim no personal credit for this. The poem itself was a gift from beyond my conscious self, and so was this first voicing of it. I thank the daimon, the Black Angel, or whatever she is for making me her “horse.”

The evening ended with Theresa, Theresa’s son Dashiell, Tony, MamaCoAtl, and some others including me eating linguine al pesto, bread, cheeses, and fruit at Theresa’s table. After wine and smoke, the conversation turned to the final days of New College and the hilariously eccentric behavior of a former colleague. I laughed until I almost cried. This was the evening’s final gift: to be able to laugh about the sad, stupid, ignominious, infuriating, and utterly preventable end of the institution to which I gave more than two decades of my life. I will come back to perform again in MAPP and in general to inhabit the Mission, because it is and will always be my second home.

04
Feb
09

THE PYRAMID AND THE TREE

(An earlier version of this essay appeared in my 1997 poetry collection Decision Forest.)

We think in metaphors. All abstractions (including the word “abstraction”) derive from terms for concrete experiences. Thought is a vast coral, whose “worms” are living metaphors and whose reef is composed of dead ones. As different corals have different characteristic shapes, so various areas of our thinking are dominated by certain meta-metaphors or metaphoric structures. For instance, in their study More Than Cool Reason, George Lakoff and Mark Turner show how our thinking about time is structured by the metaphor of the journey. The structuring goes so deep in our consciousness that it is almost impossible to talk about time without invoking the journey metaphor in one way or another. (Try it.)

Since they are mainly concerned with language as such, Lakoff and Turner demonstrate this metaphoric structuring mainly by recourse to the dead and dying tropes buried in everyday speech. But I contend that metaphoric structuring extends beyond the word into all our signifying activity. Some of the most basic meta-metaphors may in fact be partly “hardwired” in our brains out of our evolutionary history as primates or as mammals — since land mammals demonstrably share a language of facial and bodily expression, of which “primate” is a dialect. Nevertheless, just as we can resist our predisposition to behave like chimpanzees even though we are genetically almost identical to them, so we may shift even these hypothetical “deep structures” toward new ones that better fit our experience and understanding. Such a shift is what I now propose — or rather, as it has already begun to take place, it is what I intend to foreground and clarify.

The Pyramid
Ever since the growth of patriarchy, caste, and class out of settled agriculture millennia ago, hierarchy has been as central to thought as it has to social organization. To begin with, all individuals in a society must be ranked. This ranking is carried out along multiple and overlapping axes: gender (and possession of certain gendered characteristics); wealth (and how long one’s family has possessed it); occupation (or hereditary occupational caste); skin tone (or other racial markers); regional origin; tribal or religious affiliation; and so forth. Entire societies must be ranked as well: by size of social unit, military prowess or aggressiveness, degree of urbanization or mechanization, use of literacy or mathematics — or again by type of religious belief.

Civilized thought has typically inserted this social and intersocial hierarchy into a natural or cosmic one: the “Great Chain of Being.” At one end of this chain are the gods or God — the top god almost invariably gendered as male, the Sky-Father. Next in rank are the spirits of the air and of fire: djinn, devas, or angels. A few links further down are human beings — or rather, Man, to whom Woman is subordinated. The next links are the spirits of water and earth, such as gnomes, dragons, naiads, dryads, and so on. Then come the mammals and birds, followed by the reptiles, the fish, the insects and other arthropods. Below them are the plants, and finally the rocks and minerals. The reasons for this projection of social hierarchy onto the cosmos are all too obvious. As Marx long ago pointed out, every dominant class inscribes its domination into the image of nature; and for this to be possible, the principle of hierarchy must itself be unquestioned natural law.

Both social and cosmic hierarchies have traditionally been figured as verticality. Since there are typically fewer individuals at each level of society as one “ascends,” the Pyramid is the “natural” trope for both. (The independent occurrence of the pyramid in the sacred architecture of early civilizations in Babylonia, Egypt, India, and the Americas is suggestive.) In what must be one of the most ancient versions of this image — the Hindu — the pyramidal hierarchy is also a map for the journey of the soul, which must progress by way of successive incarnations from the “lowest” level to the “highest,” up through the layers of species and caste, to be reunited with the Divine. In the scholastic cosmogony derived from Aristotle that dominated medieval European thinking, the cosmic pyramid existed as real physical space, with God at its apex (and everywhere else), and the orders of Creation ranked below in tier upon tier according to the ratio of “noble” or “base” elements that composed them. Dante, in fact, imagined Hell as the inverted mirror-image of this pyramid, an infernal counter-hierarchy beneath the lowest levels of Creation itself.

More than two centuries after the founding of American democracy, social hierarchy is still with us, and with a vengeance. Its principal and closely interlinked forms in wealthy countries are economic class (often figured as the “income pyramid”); a modified patriarchy that depends increasingly on the distribution of gendered behaviors rather than on biological sex; and institutional racism, again tending toward a continuous ranking of behaviors (and skin tone) rather than a binary division into white and nonwhite. Beyond our borders, nations and regions are stacked chiefly according to their “level of development”: that is, their degree of integration into the capitalist world system as producers and consumers according to indicators like GDP and average money income (a statistic whose meaning decreases with income inequality). Like the soul in Hinduism or neoplatonism, these nations are supposed to ascend the development pyramid until they achieve the blissful samadhi enjoyed by the US, Western Europe, and Japan. Unfortunately, the income-development pyramid is more like those built by the Aztecs. Many of those who climb it do so only have their hearts cut out as a sacrifice to Capital by the transnational priests at the summit. Others, like China and India, climb toward the top while widening the base of misery in their own countries. And, like the pyramids of Egypt, this globalization pyramid is built largely by forced labor and sits in a conceptual desert — “nature” as resources to be exploited — which is fast becoming a literal one.

Not surprisingly, hierarchical metaphor persists in all areas of our signification. Most religions, of course, are resolutely hierarchical in their image of the world. But Enlightenment philosophy, which still dominates our habitual thinking about thinking, is similarly pyramidal. Locke famously conceived of cognition as a process in which multiple specific “sense-impressions” were progressively distilled into what we still call “higher-order abstractions,” making the most general concepts the summit of thought. Science too remains significantly under the sway (see what I mean?) of these metaphors, despite recent criticism of such thinking from within the scientific community. For example, physicists still commonly talk about the scale of physical reality in terms of “levels” — the galactic level, the molecular level, the atomic level, the quantum (or “subatomic”) level, and so on. And while most biologists now formally reject the notion of evolution as a “progress” from “lower” to “higher” forms, the image of Life as an Aristotelian hierarchy of species lingers on in textbook illustrations and popular thinking: a pyramid with Homo Sapiens at the top and viruses at the bottom. Even ecologists still habitually talk of pollutants returning “up the food chain” from, say, plants to humans “at the top.”

In some respects, these hierarchical images have more substance than ever before. Technology has, it seems, fulfilled the Sky-Father’s promise in Genesis and given Man dominion over nature. He now possesses the means to affect the cosmic pyramid at all levels from the planetary on down: he can create as well as destroy biological species, design molecules that will do almost anything, and release the energy of the atomic nucleus. But while mechanized society can wipe out or transform whole ecosystems almost instantaneously, it has little understanding of, or control over, the consequences of these actions. By virtually eliminating one species with pesticides, for instance, farmers may trigger a population surge in another. Antibiotics depress the population of a bacterium only to let it return in a new drug-resistant form. Air conditioners and refrigerators shield us and our food from the effects of warm weather; but the chemicals they use are destroying the ozone layer and exposing us to more damaging radiation. Fossil fuels powered the industrialization of the world with cheap energy, but they are causing catastrophic climate change. As many people now realize, civilized, mechanized Man’s position at the top of the pyramid is getting shaky.

The Tree
Here and there, in South America, Southeast Asia, and Africa, cultures still exist in which there is little or no social hierarchy. They may well contain leaders or other individuals whose experience is uniquely respected, and who are consequently deferred to in their realm of knowledge; but these individuals hold no absolute authority. Nor is there much economic stratification: no-one “employs” anyone else, and sharing is the norm. In some of these “primitive” societies, even male dominance is muted if not altogether absent. Far from being mere passive hunter-gatherers, such peoples have stewarded the ecosystems around them very effectively (by controlled burnoffs of underbrush, selective planting, and other forms of silviculture). They do not as a rule see themselves as superior to animals or plants; they regard them as fellow-beings, to be communicated with and learned from as well as made use of. Yet, as Marshall Sahlins has shown, they often live in abundance, spending far less time on material survival than civilized people do.

We cannot return to the way of life these peoples practice, if only because it will not support even a small fraction of the human beings now alive. Yet its very existence demonstrates that social hierarchy is not “natural” to human beings (any more than equality is). It demonstrates that a dialogic or collaborative relationship with non-human nature is at least possible, one that depends neither on dominative “management” nor on timorous passivity. And most important, it demonstrates that abundant life is denied the vast majority in favor of an artificial scarcity meant to force them to work for money. I believe, along with many others in the worldwide environmental or Green movement, that we must find larger-scale equivalents to the achievements of small “primitive” societies. We must create forms of social organization and technology that allow billions of people to live sustainably in reasonable comfort — and with far more free time and far greater collective control over their own lives than any but the very rich now possess. Otherwise, the pyramids will collapse on top of us as their basis, relentlessly exploited human and non-human nature, either rebels or rots.

Such massive changes will clearly not occur without an equally massive change in the outlook and priorities of many millions of people. The movement will not bring this about solely by rational argument; for such argument in and of itself treats language, in unreconstructed Enlightenment fashion, as a transparent, neutral medium of communication between monadic individuals. (Nor, at the other extreme, will the movement triumph by emotional and moral appeals that motivate people primarily through fear or guilt, since these wear out fast and are followed by numbness.) We must be effective also at the preconscious linguistic level where poets (and ad-makers, alas) work: shifting people’s perceptual frames by changing symbolism, connotation, master narrative — and master trope.

I began this essay by asserting that we think in metaphors, and that deep metaphoric structures organize whole areas of experience. I see signs that these structures are changing, in ways that may prefigure social, political, and cultural transformation. I would like to intervene in the process by bringing forward what may be a new organizing metaphor for our experience of collective (social and biospheric) life, one that replaces the Pyramid image derived from thousands of years of hierarchical domination. This metaphor is the Tree.

I like this metaphor first of all because of its literal, material value. As many people know by now, the reproduction of life on earth depends on trees, and especially on the tropical rain forests. If we are even to arrest global warming, we will need not only to save what is left of the forests but to plant vast new ones. And these forests must not simply be tree farms for transnational corporations (or oxygen farms for a “Green” technocracy). They must be what all old-growth forests are: reservoirs of biodiversity, crucibles of evolution, and labyrinths of wildness and beauty. A reverence for trees — not just metaphorical trees but real, living ones that exist before any word that can name them — such reverence is now a survival requirement for our species. For this reason alone it is appropriate that we begin conceiving of our life in terms of the Tree.

Of course tree-symbolism is ancient and various, from the Trees of Life and Knowledge in Eden to the Norse World-Tree Yggdrasil. Particular tree species have been sacred, too, in many cultures. How could it be otherwise? But new tree-metaphors seem to be emerging. At the most mundane level, the new information technologies seem particularly disposed to tree-imagery: the homely email tree for spreading information; the branching file tree of the computer operating system, whose primary directory is often called “root”; the decision tree (or decision forest) of expert systems and “intelligent” programming languages. True, in these fields, the net (as in the internet, neural network computing, and so on) and its close cousin the web (the “web of life” as well as the World Wide Web) are contenders for the organizing metaphor. I prefer the Tree, not only for the reasons already given, but because the Tree suggests a common center, a shared support to which all the other elements contribute and by which they are nourished in turn — and also a vertical as well as horizontal aspiration. Besides, the Net and the Web seem to be an emergent ideological image for the revamping of large “progressive” corporations, which are seeking to become less rigidly top-down in their day-to-day decision making without in any way altering the ultra-hierarchical context in which they operate. This is probably appropriate, given that the most netlike organisms on earth are slime molds.

Let me offer some further, more speculative examples. To begin with, perhaps I should offer this essay itself as a tree, open-ended, growing in several directions at once. And so I ask for poetic license. The word in prose tends to be a pyramid, in which broad associative potential converges into the pointed precision of denotation; the word in poetry is more like a tree, branching connotatively from the signification the reader/hearer initially gives it into a leaf-play of suggested meaning.

To return to our starting-point, society: Instead of the hierarchical pyramid of national-regional-local government, with the individual (read “dirt”) at the bottom, imagine a tree-polity: a polycentric democracy, whose trunk is the largest scale of the demos or consciously organized people, whose interwoven and tapering branches are ever more local and specialized decision-making bodies, and whose leaves are possibilities for individual choice and self-development.

For this to be possible, the income and GDP pyramids must be concurrently replaced by a worldwide tree-economy. The trunk this time can be seen as democratic planning for the common social and ecological good — or as everything that needs to be organized, produced, and distributed in standardized form and at a global level. The branches taper to increasingly local orders of production/distribution and shared good, on the principle of maximum comfortable and sustainable self-sufficiency in each order. Between the twigs and branches and the trunk travels not only raw materials, finished and semifinished goods, and (though far less than before) energy, but information. Information about what people want and need, about how it can be improved and produced more elegantly, about local and large-scale ecosystems and the integration of humanity within them: information flowing without the reifying mediation of markets or the distortions of advertising. The roots of this tree, of course, are in the literal earth — not set down on it but growing out of it. And the leaves, fed by the tree and feeding it, are the millions of individuals who, freed from the stupid struggle for survival imposed by engineered scarcity, can contribute their imaginative energies to the common life.

The kind of political organization — or rather, organized process — that might bring this about must also be treelike. The standard form of all modern political parties is pyramidal, from the layers of careerists, technocrats, and hacks in the typical “party of government” to the Leninist revolutionary vanguard with its cell-and-committee structure. Radially (radically) rooted in diversity, our movement should converge in a common program and overall strategy only to branch out again into countless local and finally individual initiatives.

Yet the individual psyche itself is, traditionally, another hierarchy — intellect at the summit ruling the ranked passions, which in turn dominate the body. More recent versions include the triadic Freudian pyramid of Superego-Ego-Id and Jung’s famous “old house” from Memories, Dreams, Reflections: a temporal hierarchy with the modern bourgeois furniture of the conscious mind on the top floor, the old-fashioned décor of the personal and cultural unconscious one floor down, and the ancient stones and bones of the collective unconscious in the basement. Broadly, in the “Western” view, the monadic, unified Subject or Self is the uppermost pinnacle, both as ideal to be striven for (whether through education or psychoanalysis) and as daylit convergence of the dark forces of history and desire.

To this I would like to oppose the human tree-being we may call the “multividual” — a body of experience rooted, certainly, in biography (the topsoil of history) but through which desire travels like sap to nourish a branching plurality of personae, some of which may then drop their own roots. This image is consonant with recent cognitive neuroscience, which has found the mind to be less like a hierarchical society ruled by the ego and more like a continual noisy debate between different parts of the brain and its internal sources of information, only a small fraction of which ever reaches conscious awareness. What we think of so proudly as “consciousness,” in fact, is really only consciousness of being conscious, and most of what our minds do, including decisions we think we have consciously made, goes on without it. The ego is at best a constitutional monarch with delusions of grandeur.

What is pathological in Dissociative Identity Disorder, formerly known as “Multiple Personality Syndrome,” is not multiplicity, but the traumatic origin of the personalities, and their resultant “freezing” into quasi-autonomous, mutually unaware pseudo-selves. Each of us shows our selves capable of this same furious creativity as we move through the various roles we must play every day. Most of these roles, in the existing society, are admittedly banal: employee, workmate, shopper, viewer, voter, taxpayer, fan. But imagine, in a communal, democratic, polycentric society — one that realizes all the desires historically signified by Carnival — all the yous you could be. In short, each of us is already a humangrove, stunted by the poor social terrain we presently occupy but capable of fabulous efflorescence.

It may be that what we call the Divine is only the psyche writ cosmically large — or perhaps, a dream-diagram of the relationship between the human and the inhuman as a particular culture experiences it. The God of Moses, a Sky-Father reconceived as an unimaginable sum of superlatives, gave us (through the Book) the fire-gift of abstraction, and allowed us to dethrone the cruel idols of nature. But the price paid has been enormous. The Almighty has brought us endless tribal genocides, crusades, inquisitions, pogroms, and jihads. Because He was composed of abstractions to begin with, the Enlightenment was able to dethrone Him partially and replace Him with Reason. But the Reason-God has brought us the disenchantment of the world, the Cartesian schism of the human being into lonely subjectivity and mechanical objectivity. We are now actually ruled by the materialization of this alienated Reason as transnational Capital, an uncontrollable Demiurge that moves over the face of the planet, transforming or destroying regional economies and ecosystems as it “wills.” In the early twenty-first century, no matter what our official religion, our true God is the detached, floating eye-pinnacle of the pyramid on the back side of the dollar. And the final irony is this: the pyramid has become, financially, materially, and metaphysically, a gigantic Ponzi scheme, looting the world, its species, and its people — with a vacuum, an utter emptiness, at the apex.

The only image of the Divine I can respect is the Tree. The ecological perspective understands each life — and the very air and water — as at once dependent on and contributive to Life. This image concurs with what is now the standard trope for the history of evolution on earth: the Tree of Life first visualized more than 150 years ago by Charles Darwin as he began to formulate his theory of natural selection. From a single stem, the archeobacteria, have grown countless branches, some spreading into stubby bushes that ended far back in the past; others, like the roundworms and the insects, reaching tall trunks into the present; and, near the tip, branching off from the mammalia and then the primates, the fragile, lonely twig that is homo sapiens.

The Tree, though, is not only a metonymy of the global life-process, but an image of the resolution of the old argument between monotheism and polytheism. “Aspect theologies,” like those of Hinduism and some African religions, which view the Divine as One yet many-faceted, of course offer versions of this. If these religions still seem too hierarchical for my taste, they nonetheless suggest a God-tree, whose countless leaf-faces are beings and whose trunk is Being.

But perhaps the Tree is also a way of imaging the relationship between Being and Becoming. Some physicists now conceive space-time as a four-dimensional tree, its root the original cosmic explosion, branching at every instant of quantum uncertainty into new universes. Some of these may last only fractions of a second; others may become whole new timelines, not “parallel” but radiant, interwoven worlds of possibility-reality: the tree of Alternity. In this tree nest all the gods, including us.

I, all of I, believe in the Tree; I are, have, will, live (in) the Tree.