Q & A with Ngugi wa Thiong’o

Q&A: Ngugi wa Thiong’o

by Matt Cheney

Ngugi has just returned from traveling, but was kind enough to answer a few questions about his work, his ideas, and Wizard of the Crow:

Q: How did you settle on the structure and design of Wizard of the Crow?  It is such a large, rich, all-encompassing book … how did you decide what to put in, what to leave out, and which characters’ stories to tell at particular times?

Ngugi:  The writing of Wizard of the Crow was more of a possession than conscious plotting.  The structure developed with the story. As they dawned on me, many incidents were a surprise to me too, often eliciting laughter. However editing later does allow for reduction of redundancies.

Q: Much has changed in Kenya, in Africa, in the world since you began work on Wizard of the Crow — did those changes affect how the book progressed when you wrote it or translated it?

Ngugi:  No, no, because the essence of globalization within Africa and between Africa and the West remains the same despite surface changes. That is why I call it a global epic from Africa. 

1984:

Art cannot be outside that which affects human beings.  Art, literature, is about life, about the quality of human lives, about human relationships.  Therefore whatever affects the quality of human life, whatsoever affects the changing pattern of human relationships is connected with a legitimate area of art.  As such, any art which divorces itself from those social forces that impinge on human lives can only be an art which is denying itself its real life-force.  So politics, economics — everything which has to do with the struggle of human beings — is a legitimate concern of art.

1988:

Literature is indeed a powerful weapon.  I believe that we in Africa or anywhere else for that matter have to use literature deliberately and consciously as a weapon of struggle in two ways: a) first, by trying as much as possible to correctly reflect the world of struggle in all its stark reality, and b) secondly, by weighting our sympathies on the side of those forces struggling against national and class oppression and exploitation, say, against the entire system of imperialism in the world today.  I believe that the more conscious a writer is about the social forces at work in his society and in the world, the more effective he or she is likely to be as a writer.  We writers must reject the bourgeois image of a writer as a mindless genius.

Reviews of Wizard of the Crow by Ngugi wa Thiong’o

Dark Metropolis — Irving Norman’s Social Surrealism

Dark Metropolis

Irving Norman’s Social Surrealism

Oil painting by Irving Norman 

This exhibition, produced on the occasion of what would have been Irving Norman’s 100th birthday (1906-1989), features paintings that remain as poignant and relevant today as when they were first created. Norman’s monumental paintings reflect a troubled and turbulent world. His works teem with detail and are populated with swarming, clone-like humans. People are constricted by small urban spaces and modern technology, caught in the crunch of rush hour, and decimated by poverty and war. Shocking, revealing and profound, the paintings aim, as Norman himself described, “to tell the truth of our time.”

The Social Surrealism of Irving Norman by Mark Vallen

Dark Metropolis: Irving Norman’s Social Surrealism, is an extremely important exhibition of paintings just opened at the Pasadena Museum of California Art and running until April 15th, 2007. Until his death in 1989, Irving Norman had painted in California since the early 1940’s – and my having discovered the art works of the brilliant artist only a few years ago is a testament to the state of a blinkered art world. The irony of my discovery is that it wasn’t facilitated by a fellow artist or an art historian, critic or journal, but by a political activist who wrote to me one day in November of 2003 to ask if I had ever heard of the painter. Embarrassed by my unfamiliarity with the artist, I did a bit of research on Norman and was astounded at what I found.

Michael Duncan, a curator of contemporary art and corresponding editor for Art in America, wrote a July 2003 article for that magazine in which he described the paintings of Norman as “jaw-droppingly effective social indictments that would have been endorsed by Orwell and Huxley. The unrestrained passion and monumental energy of this work blows most contemporary political art out of the water.”

The Situation reviewed by Stanley Kauffmann

From the review:

A few months ago, the American documentarian James Longley gave us Iraq in Fragments, which looked under the big news stories to some strands of Iraqi life, less about the war than about living. Now Philip Haas, the American director of such intelligent fiction films as The Music of Chance and Angels and Insects, has made a sort of companion piece to Longley’s film, called The Situation. This is the first picture that, fictional though it is, tries to deal with some realities of the Iraq war itself. Familiarly, the first casualty of war is truth: Haas tries to cut through the public presentation of the war to some of the actualities. 

The key person in this project was obviously the screenwriter. She is a journalist named Wendell Steavenson who spent a year in Iraq and whose writings attracted Haas. She would surely be the last to claim that she has rendered the whole of the situation, but there seems no reason to doubt the verity of what she does tell us–stories of Iraqi corruption, ambition, sectarian commitments, family devotion; stories of American military and political intent being ground into accommodating shape by daily wear and tear. Very little of the screenplay is surprising, yet it continually jogs us because of its immediacy and because it is so different from what we are fed every day from Washington. For instance, no one in this film, Americans especially, ever uses terms like “victory” or “stay the course.” And the Iraqi talk about Americans is often full of dislike and contempt and plans to exploit. 

anti-war novel and “troop support”

Peter A. Welsch:

I randomly listened to Metallica’s One on the way up, which was inspired by Dalton Trumbo’s anti-war novel Johnny Got His Gun. I first read that book when I was in middle school and it inspired me to declare myself a pacifist. Both that experience and Paths have me thinking about the role that militarism plays in our culture and society, especially considering the online row that has resulted from William Arkin’s item at the Washington Post Online, “The Troops Also Need to Support the American People.”

The CIA and the Cultural Cold War Revisited — by James Petras

Also see Art, Literature, and the CIA

The CIA and the Cultural Cold War Revisited

by James Petras

  

The CIA’s cultural campaigns created the prototype for today’s seemingly apolitical intellectuals, academics, and artists who are divorced from popular struggles and whose worth rises with their distance from the working classes and their proximity to prestigious foundations. The CIA role model of the successful professional is the ideological gatekeeper, excluding critical intellectuals who write about class struggle, class exploitation and U.S. imperialism—”ideological” not “objective” categories, or so they are told.

The singular lasting, damaging influence of the CIA’s Congress of Cultural Freedom crowd was not their specific defenses of U.S. imperialist policies, but their success in imposing on subsequent generations of intellectuals the idea of excluding any sustained discussion of U.S. imperialism from the influential cultural and political media. The issue is not that today’s intellectuals or artists may or may not take a progressive position on this or that issue. The problem is the pervasive belief among writers and artists that anti-imperialist social and political expressions should not appear in their music, paintings, and serious writing if they want their work to be considered of substantial artistic merit. The enduring political victory of the CIA was to convince intellectuals that serious and sustained political engagement on the left is incompatible with serious art and scholarship. Today at the opera, theater, and art galleries, as well as in the professional meetings of academics, the Cold War values of the CIA are visible and pervasive: who dares to undress the emperor?

Iran: The War Begins — by John Pilger

ZNet Commentary
Iran: The War Begins
By John Pilger


As opposition grows in America to the failed Iraq adventure, the Bush administration is preparing public opinion for an attack on Iran, its latest target, by the spring.

The United States is planning what will be a catastrophic attack on Iran. For the Bush cabal, the attack will be a way of “buying time” for its dis aster in Iraq. In announcing what he called a “surge” of American troops in Iraq, George W Bush identified Iran as his real target. “We will interrupt the flow of support [to the insurgency in Iraq] from Iran and Syria,” he said. “And we will seek out and destroy the networks providing advanced weaponry and training to our enemies in Iraq.”

“Networks” means Iran. “There is solid evidence,” said a State Department spokesman on 24 January, “that Iranian agents are involved in these networks and that they are working with individuals and groups in Iraq and are being sent there by the Iranian government.” Like Bush’s and Tony Blair’s claim that they had irrefutable evidence that Saddam Hussein was deploying weapons of mass destruction, the “evidence” lacks all credibility. Iran has a natural affinity with the Shia majority of Iraq, and has been implacably opposed to al-Qaeda, condemning the 9/11 attacks and supporting the United States in Afghanistan. Syria has done the same. Investigations by the New York Times, the Los Angeles Times and others, including British military officials, have concluded that Iran is not engaged in the cross-border supply of weapons. General Peter Pace, chairman of the US Joint Chiefs of Staff, has said no such evidence exists.

As the American disaster in Iraq deepens and domestic and foreign opposition grows, “neo-con” fanatics such as Vice-President Dick Che- ney believe their opportunity to control Iran’s oil will pass unless they act no later than the spring. For public consumption, there are potent myths. In concert with Israel and Washington’s Zionist and fundamentalist Christian lobbies, the Bushites say their “strategy” is to end Iran’s nuclear threat.

In fact, Iran possesses not a single nuclear weapon, nor has it ever threatened to build one; the CIA estimates that, even given the political will, Iran is incapable of building a nuclear weapon before 2017, at the earliest. Unlike Israel and the United States, Iran has abided by the rules of the Nuclear Non-Proliferation Treaty, of which it was an original signatory, and has allowed routine inspections under its legal obligations – until gratuitous, punitive measures were added in 2003, at the behest of Washington. No report by the International Atomic Energy Agency has ever cited Iran for diverting its civilian nuclear programme to military use.

The IAEA has said that for most of the past three years its inspectors have been able to “go anywhere and see anything”. They inspected the nuclear installations at Isfahan and Natanz on 10 and 12 January and will return on 2 to 6 February. The head of the IAEA, Mohamed ElBaradei, says that an attack on Iran will have “catastrophic consequences” and only encourage the regime to become a nuclear power.

Unlike its two nemeses, the US and Israel, Iran has attacked no other countries. It last went to war in 1980 when invaded by Saddam Hussein, who was backed and equipped by the US, which supplied chemical and biological weapons produced at a factory in Maryland. Unlike Israel, the world’s fifth military power – with its thermo nuclear weapons aimed at Middle East targets and an unmatched record of defying UN resolutions, as the enforcer of the world’s longest illegal occupation – Iran has a history of obeying international law and occupies no territory other than its own.

The “threat” from Iran is entirely manufactured, aided and abetted by familiar, compliant media language that refers to Iran’s “nuclear ambitions”, just as the vocabulary of Saddam’s non-existent WMD arsenal became common usage. Accompanying this is a demonising that has become standard practice. As Edward Herman has pointed out, President Mahmoud Ahmadinejad “has done yeoman service in facilitating [this]”; yet a close examination of his notorious remark about Israel in October 2005 reveals how it has been distorted. According to Juan Cole, American professor of modern Middle East and south Asian history at the University of Michigan, and other Farsi language analysts, Ahmadinejad did not call for Israel to be “wiped off the map”. He said: “The regime occupying Jerusalem must vanish from the page of time.” This, says Cole, “does not imply military action or killing anyone at all”. Ahmadinejad compared the demise of the Israeli regime to the dissolution of the Soviet Union. The Iranian regime is repressive, but its power is diffuse and exercised by the mullahs, with whom Ahmadinejad is often at odds. An attack would surely unite them.

Nuclear option

The one piece of “solid evidence” is the threat posed by the United States. An American naval build-up in the eastern Mediterranean has begun. This is almost certainly part of what the Pentagon calls CONPLAN 8022-02, which is the aerial bombing of Iran. In 2004, National Security Presidential Directive 35, entitled “Nuclear Weapons Deployment Authorisation”, was issued. It is classified, of course, but the presumption has long been that NSPD 35 authorised the stockpiling and deployment of “tactical” nuclear weapons in the Middle East.

This does not mean Bush will use them against Iran, but for the first time since the most dangerous years of the cold war, the use of what were then called “limited” nuclear weapons is being discussed openly in Washington. What they are debating is the prospect of other Hiroshimas and of radioactive fallout across the Middle East and central Asia. Seymour Hersh disclosed in the New Yorker last year that American bombers “have been flying simulated nuclear weapons delivery missions . . . since last summer”.

The well-informed Arab Times in Kuwait says that Bush will attack Iran before the end of April. One of Russia’s most senior military strategists, General Leonid Ivashov, says the US will use nuclear munitions delivered by cruise missiles launched from the Mediterranean. “The war in Iraq,” he wrote on 24 January, “was just one element in a series of steps in the process of regional destabilisation.

It was only a phase in getting closer to dealing with Iran and other countries. [When the attack on Iran begins] Israel is sure to come under Iranian missile strikes . . . Posing as victims, the Israelis . . . will suffer some tolerable damage and then the outraged US will destabilise Iran finally, making it look like a noble mission of retribution . . . Public opinion is already under pressure. There will be a growing anti-Iranian . . . hysteria, . . . leaks, disinformation et cetera . . . It . . . remain[s] unclear . . . whether the US Congress is going to authorise the war.”

Asked about a US Senate resolution disapproving of the “surge” of US troops to Iraq, Vice-President Cheney said: “It won’t stop us.” Last November, a majority of the American electorate voted for the Democratic Party to control Congress and stop the war in Iraq.

Apart from insipid speeches of “disapproval”, this has not happened and is unlikely to happen. Influential Democrats, such as the new leader of the House of Representatives, Nancy Pelosi, and the would-be presidential candidates Hillary Clinton and John Edwards, have disported themselves before the Israeli lobby. Edwards is regarded in his party as a “liberal”. He was one of a high-level American contingent at a recent Israeli conference in Herzliya, where he spoke about “an unprecedented threat to the world and Israel [sic]. At the top of these threats is Iran . . . All options are on the table to ensure that Iran will never get a nuclear weapon.” Hillary Clinton has said: “US policy must be unequivocal . . . We have to keep all options on the table.” Pelosi and Howard Dean, another liberal, have distinguished themselves by attacking the former president Jimmy Carter, who oversaw the Camp David Agreement between Israel and Egypt and has had the gall to write a truthful book accusing Israel of becoming an “apartheid state”. Pelosi said: “Carter does not speak for the Democratic Party.” She is right, alas.

In Britain, Downing Street has been presented with a document entitled Answering the Charges by Professor Abbas Edalat, of Imperial College London, on behalf of others seeking to expose the disinformation on Iran. Blair remains silent. Apart from the usual honourable exceptions, parliament remains shamefully silent, too.

Can this really be happening again, less than four years after the invasion of Iraq, which has left some 650,000 people dead? I wrote virtually this same article early in 2003; for Iran now, read Iraq then. And is it not remarkable that North Korea has not been attacked? North Korea has nuclear weapons.

In numerous surveys, such as the one released on 23 January by the BBC World Service, “we”, the majority of humanity, have made clear our revulsion for Bush and his vassals. As for Blair, the man is now politically and morally naked for all to see. So who speaks out, apart from Professor Edalat and his colleagues? Privileged journalists, scholars and artists, writers and thespians, who sometimes speak about “freedom of speech”, are as silent as a dark West End theatre. What are they waiting for? The declaration of another thousand-year Reich, or a mushroom cloud in the Middle East, or both?

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Richard Clarke Novels and Iraq War Movie, The Situation

Richard Clarke’s Political Fiction

by Kristin

Using fiction, entertaining, to inform isn’t a new concept to Clarke. He talked about his role as a counter-terrorism adviser and introducing biological warfare through an interactive “war game” format, feeding facts in 10-minute intervals, showing video clips and shoving a microphone in cabinet members faces ala Geraldo Rivera. “The whole world’s going to hell, Janet Reno. What are you going to do?”

“It had a way of gripping them,” Clarke said. “They had no idea.”

Telling an Unfinished Story — review of the fictional Iraqi war film, The Situation

by Nicolas Rapold

…despite its shaky execution, the [fictional film] production does illuminate a subtle weakness native to the flood of Iraq documentaries. Ironically, the movie achieves a certain clarity by depriving viewers of the frisson of the real as well as the narrative adrenaline boost experienced in the by-now familiar documentary recipe of blindsiding violence, ephemeral beauty, and captured confessions.

Like the most recently lauded slice of Iraq exposition, ” Iraq in Fragments,” “The Situation” expresses the predicaments of ordinary Iraqis, including the less innocent among them. Local and family loyalties overshadow national concerns, and the threat of kidnapping or murder makes open support for occupying forces risky and rare.

The Situation — Iraq War Fictional Film

Situation No Win                                  Another Review
by J. Hoberman

The Situation, Philip Haas’s deftly paced, well-written, and brilliantly infuriating Iraq War thriller is not only the strongest of recent geopolitical hotspot flicks but one that has been designed for maximal agitation. Based on a script by the Anglo-American journalist Wendell Steavenson, this gutsy attempt to dramatize the way Iraqis live now is an incitement to rage and despair—the most vivid critique of Bush’s War yet put on screen.

An independent production, The Situation was frugally shot (to excellent effect) in and around Rabat, Morocco, with a largely Arab cast and one mid-level inter national star: Connie Nielsen, who plays the American correspondent Anna. Nominally a romantic triangle—Anna is casually involved with a friendly intelligence officer yet increasingly drawn to her Iraqi photographer—the movie is as bluntly existential as its title. It’s structured as an interlocking series of mysteries inside one very large and intractable brain-twister. What in the world are we doing (or do we think we’re doing) in this incomprehensible landscape and how in the world are we ever going to get out?

Haas opens by restaging an actual incident that occurred in the mainly Sunni city of Samarra in early 2004: A group of American soldiers detained a pair of teenage Iraqis out after curfew and wound up throwing them into the Tigris, drowning one. Although the case, which Anna reports on, only intermittently surfaces in The Situation‘s narrative, its sink-or-swim horror sets the movie’s tone and provides an ongoing metaphor.

Iraq has been the subject of several key documentaries: Each in its way, The Control Room, Gunner Palace, and Iraq in Fragments are crucial to the representation of the war. The Situation is the first fictional film of note to treat the conflict, and as such, it is filled with echoes of Vietnam (and Vietnam-era) movies. Haas’s Baghdad certainly doesn’t look like Saigon but it has a sickeningly familiar feel. The Green Zone’s swimming pools and Chinese restaurants recall the lavish pseudo-America of Apocalypse Now. (Indeed, Steavenson’s knowingly noirish first-person reportage owes a bit to Michael Herr.)

The Clefts, by Doris Lessing

Lessing’s inspired tale imagines a life without men

by James Kidd

…Set in a time of myths and legends, the senator relates the history of The Clefts, an ancient community of women who live in isolated splendour in a coastal valley.

This setting is not only beautifully rendered by Lessing’s crystalline prose, but also provides a metaphor of female identity that banishes the “phallus” from pathetic fallacy. Once a month, for instance, red flowers flow through the rock.

The Clefts have no knowledge of men – and nor do they need them. Able to procreate by themselves, urged on by lunar cycles, they give birth to girl progeny alone.

One day, however, one of their number gives birth to a male child and the world of Edenic order threatens to falls into chaos.

Liberation Songs — So Ann, Annette Auguste

Liberation Songs

Politics, poverty and police actions form the backdrop to Haitian folk-singer So Ann’s Montreal arrival

by Stefan Christoff 

In February 2004, rebel forces in Haiti launched a successful armed campaign to overthrow populist President Jean-Bertrand Aristide. Anti-Aristide militias, comprised mainly of soldiers from the disbanded Haitian army, seized power and a wave of violence engulfed the country. As the coup unfolded, hundreds of activists and members of the pro-Aristide Lavalas political party were jailed without charge, according to Amnesty International.

On May 9, 2004, just months after the coup, a contingent of U.S. Marines entered the home of Annette Auguste after midnight, arresting one of Haiti’s most well-known folk singers, community leaders and prominent Lavalas supporters. Auguste, also known as So Ann (“Sister Anne” in Creole) was apprehended on suspicion of “possessing information that could pose a threat” to the U.S. troops operating in Haiti under the umbrella of the UN intern force.

“U.S. Marines destroyed my home, killed my dogs and abducted me in the middle of the night,” says So Ann over the phone from Haiti’s capital, Port-au-Prince. “I was locked in prison for more than two years for my political beliefs and the conditions were terrible-a dozen women stuffed into a prison cell for two people.”

So Ann, a 62-year-old grandmother, was released from jail in August 2006 after a major international campaign for her release, backed by Amnesty International. Next week, So Ann, considered a Haitian folk-hero, will be speaking and performing at a series of events in Montreal on one of her first international trips after prison.

Living the message

“I was just recently released from two years of prison without trial and I am going to Canada to tell the people about our struggles for freedom in Haiti,” she says. “Montreal is going to hear about what the U.S. Marines did to me, the situation of Haiti’s political prisoners and the coup against Aristide that the government of Canada supported.” (Canada deployed 550 troops to the Caribbean island.)

“These are the simple reasons why I am coming all the way to snowy Montreal, even with my knees aching from my time in prison,” she says. “I will also be in Montreal to play my music which tells of the Haitian peoples’ long fight for justice.”

So Ann’s latest record, “So Ann, Political Prisoner: What else can they do to me?” was released in 2005 by the Manhattan-based Crowing Rooster Arts. With 11 tracks, the album showcases the voices of her 19-singer women’s choir along with percussion, guitars and keyboards. Most impressive about the release is that it was officially released while So Ann was behind bars.

“So Ann lives the message she sings,” says Kim Ives, a New York-based documentary filmmaker and long-time friend of So Ann. “Last September, after So Ann was released from prison, I went with her on her first return to Cité Soleil (an impoverished district of Port-au-Prince); once word spread that So Ann was in the hood, thousands upon thousands filled the streets around her celebrating her release from jail.”

So Ann’s political history in Haiti stretches back beyond the 2004 coup to the brutal Duvalier era of the 1970.s. During the first years of the second Duvalier dictatorship, under Jean-Claude “Baby Doc” Duvalier, So Ann fled to the U.S., settling in Brooklyn, where she developed a heavy reputation within New York’s Haitian Diaspora as a democracy activist and folk singer. She wrote Creole protest anthems against the Duvalier regime and the subsequent military juntas.

“My music tells of Haiti’s struggle today and the story of our history,” So Ann says. “From our independence victory over France in 1804 to the bloody years of Duvalier and the coups against Aristide, our story is full of suffering but also a strong will to struggle.”

Prisons still full

Upon returning to Haiti in 1994, So Ann became a leading organizer within Aristide.s Lavalas party, forging a relationship of mutual respect with the president while becoming a heavyweight progressive political organizer in the country. Upon being released from prison, So Ann’s political clout among Haiti’s poor has grown. Today, her music, which reflects on the struggles of Haiti’s downtrodden, who live in the most impoverished country in the Western hemisphere, has made her more popular than ever, even as she remains committed to affecting change in her own country.

“[Haiti’s current president and one-time Aristide ally René] Préval is not using the power he was granted in the last elections to release all the political prisoners in Haiti’s jails,” she says. “Until all political prisoners are free, Haiti is not free.”

via ZNet

Novels of Ideas and Issues

Plato and chips

By Jonathan Derbyshire

IF MINDS HAD TOES
by Lucy Eyre

Philosophers have always liked to illuminate problems by making up fictions. Plato compared the situation of ordinary human beings with the predicament of prisoners chained and condemned forever to watch the play of shadows on the wall of a cave. Ever since, vivid analogies or “thought experiments” have been an essential part of the philosopher’s stock-in-trade.

In many cases, the purpose of such fictional devices is not merely didactic – a matter simply of illustrating ideas that have been worked out beforehand; often, they’re an integral part of the working-out itself. If Minds Had Toes, Lucy Eyre’s entertaining and ingenious first novel, contains descriptions of a number of famous thought experiments. But it is itself also an extended thought experiment, one that is designed to raise questions about the nature and purpose of philosophy. Lila Frost, a central character in the book, says thought experiments enable philosophers to “test [our] intuitions about a problem by taking it to imaginary extremes”.

David Walsh and Others — Films of 2006 and Book and Film Reviews

Film Reviews by David Walsh

David Walsh picks his favorite films of 2006 

 2005 2004 2003 2002 2001 2000

1999 and the decade — 1990s 

A Few Essays and Book Reviews:

The serious artist and the Cold War
Underworld, by Don DeLillo

Artistic and cultural problems in the current situation

Related: WSWS arts editor David Walsh discusses art and the present political situation

The Aesthetic Component of Socialism

The Art And Politics Of Film

John Updike’s Terrorist

Other Reviewers:

Ann Talbot Le Carré’s new novel questions his previous Cold War certainties in The Constant Gardner

Sandy English The plausible and the implausible in Carolyn Chute’s Snow Man

Alex Lefebvre Flaunting rottenness: Plateforme, by Michel Houellebecq

Sandy English Inside and outside the family –Alice Munro’s short stories

In Defense of Artistic Freedom

A Conversation at the Swans Café… John Steppling & David Walsh

…the so-called art critics, by and large, are entirely lost. They have no means by which to gauge the success or failure of a film. It’s entirely hit or miss. So-and-so is convinced that the New Portuguese Cinema is the coming thing, X and Y are equally certain that the latest 6-hour Hungarian suicide film is positively ground-breaking. It goes on. No one has a clue. People are convinced if they see enough films, or at least enough of the “right” films, it will all work out in the end. But it doesn’t, because they lack the slightest objective means by which to judge what they see. So their heads are crammed with images, very few of which are subjected to a serious critique.

How does one arrive at such an “objective means”? Of course, this notion will be rejected out of hand by the vast majority of contemporary critics or academics. Everyone, as we know, has his or her narrative, equally valid or invalid. One simply plays at art or film or criticism. The dreadful unseriousness of contemporary intellectual life!

Breton suggests that one proceeds with two sets of facts: the history of the particular art form (what Hegel calls the “empirical body of knowledge”) and the history of society. I think these are reasonable starting-points. Does a work take up some of the most advanced work in the field and develop it, and does it take a penetrating look at the world?

To answer these questions, of course, one has to know something about the history of the medium and the history of society. More generally, “You must be something to do something,” as Goethe remarked. I return to the unlined faces and the empty heads of the vast majority of film directors and writers.

The relationship between art and social life is extremely complex. One of the central points I’m attempting to make is that the historical, cultural and intellectual “climate” is of critical importance in the creation of art work. One can berate the individuals involved for a multitude of sins, but the difficulties today are not the result of personal failings, even on a mass scale. What is the artist or critic breathing in? What are his or her conscious and unconscious minds feeding on?

What did the artists of 1925, whether surrealists or constructivists or Bauhaus advocates or social realists, take for granted, more or less? A hatred of king, country, priests, police, flags, war, authority. The art work took off from that point. An oppositional viewpoint was more or less “built in,” as something presupposed, it was present in the conscious and unconscious. Why? Because of the great events and the presence of a mass socialist labor movement.

Of course the artists were not all in agreement with a struggle against capitalism or any such thing. But the “labor question,” the “social question” was a part of late 19th and early 20th century intellectual life, even for the partisans of “art for art’s sake,” and such. Consider Wilde, a remarkable socialist theoretician, after all. Or Mallarmé, who subscribed to an anarchist magazine. The list goes on. Proust commented (unfavorably) on the prospects of the socialist movement. These issues were in the foreground for anyone serious about modern life. They were in the air.