Spectres of Marx and Derrida: A Post in Response to a 6/20 Paper by John Holroyd

 

The ghostly figures of Karl Marx (1818-1883) 

and Jacques Derrida (1930-2004)

'Deconstruction never had any meaning or interest 

other than as a radicalization of a certain spirit of Marxism ...'

 

I couldn't help thinking that John Holroyd's paper on Marx presented last night at Christian Michel's 6/20 [1] was something of a missed opportunity. For rather than simply rake over over the ashes of historical Marxism, he might have invoked the spirit of that untimely Marxism which continues to haunt capitalist society and the imagination of those concerned not with communism per se, but the possibility of radical critique. 

 

And rather than argue in favour of positive freedom - i.e., a fulfilled and unalienated form of existence lived within a harmonious community established upon an ideal of justice - Holroyd could have developed the idea of what might be termed posthumous freedom, by which one refers to a model of freedom invested with elements from the past and overshadowed by futurity; a model that embraces uncanny otherness thereby disrupting the presence of what is present (including the self), and renders the question of alienation a non-issue. 

 

That's not to say Holroyd's talk was uninteresting or poorly presented: in fact, Holroyd is an accomplished speaker who clearly has an excellent grasp of his material. But, it was essentially just a reminder of Marx and the messianic or religious nature of his work - the aspect which clearly most excites Holroyd - rather than a daring philosophical attempt to reimagine Marx in spectral form à la Derrida [2].    

 

Of course, Holroyd doesn't pretend to be a Derridean and probably has little truck with différance and deconstruction. And some might argue it's a little unfair to criticise a speaker for what they don't say, rather than focus on the issues that were addressed.

 

Nevertheless, for a writer interested in the persistence of ideas from the cultural and social past and intrigued by those thinkers, like Marx, whom Nietzsche calls posthumous individuals, Holroyd might at least have indicated he was aware of Derrida's seminal text on atemporal Marxism - and if he isn't, then this, in my view, is a serious shortcoming and I would respectfully suggest he add it to his reading list ASAP.      

 

 

Notes

 

[1] John Holroyd has a background in theology and philosophy and has taught religious studies (and other subjects) in schools (and online) for many years and lectured at the London School of Philosophy.  He is the author of Judging Religion: A Dialogue for Our Times (Silverwood Books, 2019). 

      Christian Michel is a French polymath who has graciously hosted the twice-monthly 6/20 Club at his west London home for almost twenty years, during which time an impressive assortment of speakers have presented papers on a huge number of topics. 

 

[2] Jacques Derrida's Spectres de Marx (Éditions Galilée, 1993) was trans. by Peggy Kamuf and published in English by Routledge the following year. 

      The ideas that Derrida introduces here - such as hauntology - were first presented in a series of lectures during a conference on the future of Marxism held at the University of California, Riverside in 1993. For Derrida, the spirit of Marx contines to haunt the modern social imaginary even in a world that is post-Cold War and the collapse of the Soviet Union (and this will continue to be the case so long as there is injustice, inequality, oppression, and exploitation). 

      For a critical reading of this text by Fredric Jameson, Antonio Negri, Terry Eagleton, and others, see Ghostly Demarcations, ed. Michael Sprinkler, (Verso, 1999).

 

 

The Surreal Resurrection of Salvador Dalí

Still from a promotional video for Dalí Lives (2019)

© Salvador Dali Museum, Inc., St. Petersburg, FL.

If someday I die, though it is unlikely, I hope the people will say: 'Dali is dead - but not entirely'.

I.

I have to admit: I've never been a great fan of Dalí.

Having said that, I did once make a trip to Figueres, his hometown, in order to visit the Dalí Theatre-Museum, that's famously topped with giant eggs.

And I do love the fact that the railway station at Perpignan, which Dalí declared to be the centre of the universe after experiencing a moment of cosmogonic epiphany there in 1963, has a large sign proclaiming the fact.  

What's more, Dalí is also responsible for inspiring the title of Serge Gainsbourg's infamous love song, having once declared: "Picasso is Spanish ... me too. Picasso is a genius ... me too. Picasso is a communist ... moi non plus."

So, whilst not a fan, there are elements of his work and aspects of the man and his life that I nevertheless greatly admire. Not least of all his attitude towards death: a biological fact that he refused to believe in. Indeed, in his final public appearance (until now), Dalí made a brief statement to the effect that, because of their vital import to humanity, a genius doesn't have the right to die. 

This idea amuses me and, as someone who - despite the evidence - doesn't quite accept their own death as a future certainty, I'm sympathetic to it. That is to say, whilst I understand it's a possibility - and, since my own father died, death could even be said to run in the family - I also think that, as a writer, as long as I still have something to say, then this affords me protection.


II.

Thirty years after his death, aged 84, in January 1989, Dalí is back - proving once more that Nietzsche was right to assert that some individuals are born posthumously and that the day after tomorrow belongs to them.  

I don't know how Jesus pulled off his final stunt, but Dalí has achieved his uncanny resurrection with the assistance of the curators at the Salvador Dalí Museum in St. Petersburg, Florida, working in collaboration with the clever people at San Francisco ad agency Goodby Silverstein and Partners, using the very latest AI-based digital technology.

Visitors to the exhibit, which opens in April, will be able to interact with the artist via a series of screens, as well as enjoy the collection of his works. For those who can't wait or those who, like me, can't go, here's a taste of what can be experienced: click here.  

Thanks to Kosmo Vinyl for tipping me off about the exhibition and suggesting this post.

Francesca Woodman: An American Genius

Francesca Woodman: Providence, Rhode Island, 1976 (1976)

Tate / National Galleries of Scotland (AR00352)

© George and Betty Woodman

I have to confess that I only recently came across the work of American photographer Francesca Woodman, but I was immediately fascinated by her beautiful (often disturbing) black and white images which have a queer, gothic and surreal quality that is seductive in the sense that Baudrillard gives the term. That is to say, the photos partake of a game of slow exposure that is all to do with appearance and disappearance, and playing with the signs of sexuality and self-hood.

Woodman works in a manner that is not only highly stylized and disciplined, but also ritualistic and fetishistic; a combination of primitive magic and aristocratic aestheticism. She turns her own body into just another object, semi-exposed, but mostly withdrawn and concealed, existing in relation to other things (chairs, doors, mirrors, a bucket full of eels) that are equally real, equally fragile, and equally mysterious.

Born in 1958, Woodman was only twenty-two when she committed suicide in 1981, pissed, apparently, with the slowness with which her work was garnering critical attention or achieving commercial success. In a letter to a friend (written around the time of an earlier attempt to end her life), Woodman says she’d rather die young and leave behind her a delicate body of work, than see herself and her pictures fade away or be slowly erased by time.

Death, she realised, would be the making of her; for hers, like Nietzsche's, would be a posthumous existence. And this tragic realisation, coupled to her precocious talent for blurred image-making, makes me very fond of dear Francesca: an American genius.