Books, Film, Event Reviews

A History of Debt

David Graeber's Debt: The First 5,000 Years is an outsize exposition of social, historical, and institutional constructions of value and the high political stakes they have for human societies. It spans an impressive gamut of practices ranging from religious beliefs about primordial obligation, 19th-century Positivist notions of "social debt," and the bond between states and the markets that parasitically rely on each other to survive.

In his Philosophy of Money, Georg Simmel wrote, "just as a poem is not simply a fact of literary history, but also an aesthetic, a philological and a biographical fact - so the fact that two people exchange their products is by no means simply an economic fact" (52-53). People invest economic objects with a calculable value as if it were an inherent quality, though Simmel left the question of what value is or means as ultimately "unanswerable." Marx took a similar approach, notwithstanding his remarks on the element of unaccountability in money as an expression of frayed social relations.

Graeber's Debt offers a synthesis of transnational social practices concerned with value, exchange, and money but moves in an exciting novel and opposite direction. He situates debt as the quantification of promise and obligation and the threat of violence behind that calculation (in contrast to the complexities of obligation in self-cooperating civilizations, in what is usually referred to as mutual aid). Read more>>

A Trespasser's Legacy

No obituaries appeared in the major American newspapers when Masao Miyoshi, the author of Accomplices of Silence (1974), As We Saw Them (1979), and Off Center: Powt and Cultural Relations between Japan and the United States (1991), passed away on October 1st, 2009. Solely his academic department and his publisher informed briefly about the passing of a scholar who still seems to be fairly unknown outside the field of Asian Pacific cultural studies. Yet Miyoshi, a Japanese-born, naturalized American émigré intellectual, whose long career saw him teach at UC Berkeley, University of Chicago, and UC San Diego and whose work shares much common ground with the oeuvres of his friends Noam Chomsky, Frederic Jameson, and Edward Said, deserves more wide-spread consideration.>>

Insecure Times

Under Review:

Marc Abélès, The Politics of Survival (Duke University Press, 2010)

Kolya Abramsky, Sparking a Worldwide Energy Revolution: Social Struggles in the Transition to a Post-Petrol World (AK Press, 2010)

Slavoj Zizek, Living in the End Times (Verso, 2010)


Writing about Hollywood disaster movies, Fredric Jameson once quipped that our culture finds it easier to imagine the end of life on Earth than to conceive of a transformation of the capitalist social relations that are pushing us inexorably towards catastrophe. Jameson's quip unfortunately grows more prescient by the day. Liberal democratic political systems the world over seem utterly incapable of coping with the critical economic, political, and ecological challenges that face contemporary civilization. Indeed, the sole significant change evident in the political sphere these days is the dismantling of the very forms of regulation and infrastructure that made decades of post-1945 stability and prosperity possible. The only exit from the current organic crisis of capital, politics, and ecology seems, in other words, to be an intensification of precisely the destabilizing conditions that provoked that crisis in the first place. As a result, we are living through a radical foreclosure of the future. Little wonder, then, that we're being subjected to a bumper crop of disaster movies.


>>

Painfully Beautiful

I saw Miral, the new film by Julian Schnabel last week. It was opening in New York and Los Angeles, to great controversy, as it was advertised as giving us a Palestinian point of view. My ears perked up when I heard that, with visions of big screen political dissidence dancing through my head. While I wasn't angrily disappointed by the film, it left me underwhelmed, as it was little more than a pretty primer, cautiously extending a critique of Israeli violence, but leaving us with little more than a few resisters and calling for little more than the so called 22% of the land promised by the Oslo Accords.

The film is a version of the autobiographical novel of the same name by journalist Rula Jebreal, who also wrote the screenplay, about growing up in Palestine in the 1980's. Schnabel and Jebreal are now in love, (did I mention she looks like, and is groomed as, a supermodel?) and from my perhaps ungenerous perspective, the film is shaped by Schnabel's obvious romance with the brown world, albeit a feminized one, which he claims he only recently discovered (although his prior films Basquiat and Before Night Falls are precedents). A cynical mind might call this "trauma tourism," the appeal of stories from the underdeveloped world being their cathartic effects. We are left by his film with a light sprinkle of therapeutic tears, not the kind of itchy political ire I was hoping for. Where's Brecht when you need him the most? Read more>>

The Promise of Happiness

In her sweeping new work The Promise of Happiness, Sara Ahmed provocatively challenges the idea of happiness as a necessary social good. Ahmed delivers a compelling and engrossing argument about the normative functions of the teleological desire called happiness. The social injunction to be happy is constantly around us, and Ahmed engages in a startling polemic against the inherent goodness of happiness. In "The Theses on the Philosophy of History" Walter Benjamin has written, "reflection shows us that our image of happiness is thoroughly colored by the time to which the course of our own existence has assigned us" (253-254).[1] Not only is happiness culturally conditioned, so is how we think about happiness. Ahmed's basic question is: what forms of subjectivity are foreclosed by the seemingly universal drive towards happiness? How do the narratives of the happy family, happy worker, happy native, or happy citizen work to dismiss people? Against a socioeconomic backdrop predicated on desire, consumption, disaster, and greed Ahmed strives to open a space to resist the compulsory smile or nod. >>
1 2 3