Fascism May Be Fascinating, But Do Not Become Enamoured of Power

Designed by Hugo Boss, who was an active party member and not simply a collaborator with the Nazi regime, the SS uniform was, as Susan Sontag writes, "stylish, well-cut, with a touch (but not too much) of eccentricity". 

Close-fitting and all black in colour, the uniform suggested not only malevolent authority and the legitimate exercise of violence, but also the aestheticization and eroticization of power. It was an outfit designed to make its wearer not only feel superior, but look supremely beautiful. 

Little wonder then that this menacing but seductive uniform - complete with various items of regalia, cap, gloves, and boots - has continued to have a place within both popular culture and the pornographic imagination; filmmakers, fetishists, and fashionistas, for example, are united in their fascination for this ultimate fascist ensemble.       

But of course, as Sontag also points out, most people who fantasise sexually about being dressed to kill and go a little weak at the knees when they see an SS uniform are not signifying their approval of what the Nazis did ("if indeed they have more than the sketchiest idea of what that might be"). They are simply interested in the staging of their own desire and the acting out of their own fears and obsessions.

And perhaps this is a good thing. For perhaps, as Foucault said, in order to rid our hearts and dreams of fascism it is necessary to say and do shameful, ugly things not because we believe in their truth, but so that we won't have to believe in their truth any longer. Perhaps the aim is not ecstasy, but innocence; the fantasy is not death, but freedom (from that which causes us to love power and revere authority in the first place).

Note: Susan Sontag's essay, 'Fascinating Fascism', from which I quote in the above post, can be found online at: www.nybooks.com/articles/archives/1975/feb/06/fascinating-fascism/

On Being a Bit of a Jew

I began to talk like a Jew.

I think I may well be a Jew.

I think I know what she means. 

And I think that, like Sylvia, I might also confess to being a bit of a Jew. 

How could it not be so when I have spent a lifetime under the influence of (amongst others) Malcolm McLaren, Serge Gainsbourg, Jacques Derrida and Larry David and grew up believing Rhoda Morgenstern to be the most beautiful woman in the world?

As Susan Sontag notes, the Jews are (along with homosexuals) the greatest creative minority in contemporary urban culture; creative, that is, of a sensibility - an admittedly old-fashioned and problematic term, by which she means an emotionally and aesthetically informed way of looking at the world and thinking about the self. 

I suppose I would call this a style. And whereas Sontag identifies moral seriousness as being the crucial component, I think for me Jewishness is about an abrasive, provocative, sometimes vulgar often anarchic humour that is fundamentally anti-deutsch (with German also being understood as a style, characterized by a sluggish digestive system and an Aryan eye, bright blue).