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Ghosts of Anti-Fascism Past

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Ghosts of Anti-Fascism Past

Monthly Archives: December 2018

Back To Little Beirut

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Posted by Jonathan Mozzochi in Essay, Memoir

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Antifascism, coalition for human dignity, Dan Quayle, Eric Foner, George HW Bush, Howard Zinn, Little Beirut, Oregon, Portland, Portland Protest, Regis Debray

 

 

Back in the late 1980s, in the embryonic days of the Coalition for Human Dignity,  together with a small group of student radicals I cobbled together something called the Antifascist Archives Project. It amounted to little more than a poster featuring a bundle of sticks with the blade of an axe protruding from the top being broken in half. The symbol is that of the fasces, the Latin term from which fascism derives. Together with our fanatic hearts and a pile of research files to inspire the breaking, we began ferreting out fascists wherever they might be, in whatever stage of development they had progressed, at whatever cost to ourselves. We operated from the second floor of a warehouse space located at 333 SE 3rd Street in Portland, Oregon known as The Matrix. From the beginning my antifascism always involved no small amount of rebellion.

Below our second-story ramshackle office was a tortilla chip factory where (in my mind’s olfactory eye) I can still smell those fresh tortillas cooking. After being cut into chips, they would slowly make their way down a small conveyor belt where they would be bagged and often consumed, hot and fresh, by yours truly. My memories of this collective space are bound up with the smell of those tortilla chips and that of another: the fresh ink that emanated from the giant offset printing press which periodically disgorged the finished broadsheets for the long defunct, and somewhat bizarre, Portland Free Press.

Fronted by Andrew Seltzer, the cantakerous and idiosyncratic editor and publisher, the newspaper had a short run of a couple years. I was listed on the masthead as “Staff Researcher”. In late 1989, I dug up a connection between the local top representative for the Federal Bureau of Investigation and government surveillance of the left. Seltzer told me to call the local FBI office for an interview, which I did. To my surprise, I was granted an audience with the Special Agent in Charge (SAC) of the Portland, Oregon FBI, a guy named Danny Coulson. Two of us marched up to his office and were allowed to record the proceedings (where is that tape recording?). We grilled him about the FBI’s Cointelpro (Counter Intelligence Programs) of the 1960s-1970s, armed with the accusation that such efforts to “infiltrate, disrupt and neutralize” the left were continuing, in particular around groups such as CISPES, (Committee in Solidarity with the People of El Salvador). I was young and well on my way to a political philosophy that does not appear on any conventional ideological map. The interview didn’t win me a Pulitzer, but it was an interesting peek into the top office of America’s Secret Police.

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The Matrix warehouse collective was a motley crew of antiracists and anarchists, Earth First! environmentalists and anti-gentrification activists (some of whom would burn to the ground a number of rowhouses being built by developer Phil Morford, and get away with it) antiauthoritarians who had stools alloted them at the Laurelthirst Pub, cop watchers and ACT-UP militants (some of whom I joined in occupying a federal office building more than once) anti-repression activists and numerous denizens of alternative music venues such as Satyricon and the Pine Street Theatre. The Matrix was a crucible for radical politics and an incubator for a subculture of resistance that would later be dubbed, “Little Beirut.” On more than one occasion I had a tasty meal procured from dumpsters at the back of a local grocery store. On other occasions, following rolling street brawls featuring Anti Racist Action and SHARP (Skinheads Against Racial Prejudice) activists fighting racist skinheads, comrades armed with shotguns and rifles patrolled the roof of The Matrix.

Around the same time I was interviewing the Portland SAC, my comrades and I were organizing the first protests against Dan Quayle and George H.W. Bush. The two would visit Portland over the next few years for a series of very expensive, very posh, private fundraising dinners, mostly held at the Hilton Hotel in downtown Portland. Chuck Palahniuk, by the way, doesn’t know shit about any of this, and neither do the scribblers at Willamette Week. Allow me to fill you in on a few details left out of these sanitized versions of what took place. First, the earliest of these protests were conceived, planned and carried out by militants in The Matrix collective. Get that right.

The symbolic protestors of Reed College who were self identified as “Reverse Peristalsis Painters” and who swallowed ipecac and food coloring so as to vomit in red, white and blue, were a sideshow, and came much later. The main events involved something quite different: gauntlets organized at two entrances to the Hilton Hotel, through which the well heeled Republican millionaires had to travel if they wanted to eat dinner. We disrupted the fuck out of that dinner party. Projectiles of all kinds–fruits, vegetables, eggs, rocks, etc., hit their mark. Cops were unprepared for the first two events, and rolling battles took place in the streets. I know, because I was there. One group of us dressed in the manner of Teenage Mutant Ninja Turtles–straight out of the sewers. What animated us was one main objective: raise the social costs of staging such events by interfering with the material capacity of the organizers to carry out such events. Symbols and imagery were secondary.

“Everything we want is in the end of you.”

That gauntlet, by the way, was what earned Portland the moniker ‘Little Beirut’, not the kids from Reed College and their ‘shocking’ performance art. And we threw all manner of projectiles, soiling the fur coats of the rich, burning newspaper boxes and cars. For a brief moment in time, at a few intersections in downtown Portland Oregon, the rich were on the run from impending violence. You don’t see that often enough.

History, as the saying goes, is written by the victors and they write whatever necessary to justify their continued dominance. Let this missive from a ghost of antifascism past be a token of resistance to that history.

Socialism, the great revolutionist Regis Debray reminds us, “was born with a printer’s docket around its neck.”

“Writing collectivizes individual memory; reading individualizes collective memory. The back-and-forth between them fosters the sense for history by unearthing potentials within the present, creating backdrops and foregrounds; it is fundamental for the idea of socialism. When it is cold outside and the night is long, memory means that we are not alone.” “Socialism: A Life Cycle” Regis Debray, New Left Review, No. 46, July-August, 2007.

For a new generation of radicals at the barricades I ask this: What happens to a society that no longer writes or reads, but posts and records in the manner of a compulsive self-documentarian? The selective timelines and creepy sanitized nostalgia of Facebook displace historical memory. Not that history by the victors was objective to begin with, but for every Richard Hofstadter or John Lewis Gaddis there is a Howard Zinn or an Eric Foner. Who shall replace them?

Socialism was born with a printer’s docket around its neck, and a molotov cocktail in her hand.

Long Live Little Beirut.

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Why I Hate Stephen King And Love Stanley Kubrick

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Posted by Jonathan Mozzochi in Essay

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A Clockwork Orange, Full Metal Jacket, George Lucas, Jonathan Swift, Magic Negro, Repressive Desublimation, Stanley Kubrick, Star Wars, Stephen King, Steven Spielberg, Stranger Things, The Duffer Brothers, The Green Mile, The Shining

I hated Stephen King’s books when they came out and I was in high school. I had to read more than one, just to keep up with the pop culture references. I loathe them even more, today. For me his low point (to date) was writing the teleplay from his book, The Shining for the TV series of the same name (1997). There is no better example of King’s narcissism, hubris and corresponding lack of talent than this laugh out loud effort to ‘correct’ what is arguably the greatest horror film of all time, Stanley Kubrick’s The Shining (1980). The only thing to be said about the television version is that it is indeed faithful to King’s book, while Kubrick’s is not. But that’s exactly the point: King’s writing has always been cloying and soft in the middle, unconsciously mendacious in that uniquely ‘ugly American’ way. At once insipid and preternaturally neurotic, the horrors visited upon Stephen King’s Americans–and they are always stock Americans–are the character flaws and psychological failures of individuals, even when they take an institutional form.

This is precisely what Kubrick has never trafficked in, the melodrama and kitsch that characterize contemporary morality plays in the wasteland of genre fiction.

What Kubrick did with King’s pablum is extraordinary–he made a mediocre text obsessed (as always) with individual themes of personal responsibility and psychology into an indictment of American exceptionalism and universalism. And it was terrifying, but in ways that were difficult to verbalize.

Kubrick linked profoundly disturbing themes of child abuse, murderous misogyny and alcoholism with capitalism, racism and white settler genocide–he made the personal, political, and the political, personal.

This achievement is partially recognized through the fanciful documentary film Room 237, (2012). The filmmakers make much of Kubrick’s fanatical attention to detail, noting the frequent appearance of symbols that reference two genocides–those of Native America and the Holocaust. And I agree that the repeated appearance of certain symbols–cans of baking powder and a typewriter, for instance, were not incidental nor accidental; but intentional. Kubrick puts them there for reasons cited above.

Room 237 is an interesting homage to Kubrick’s The Shining but it doesn’t take King to task. As befitting the pay-to-play state of modern academia, it also includes a lengthy, tedious and stupid section that is incidental to the film, repeating conspiracy theories that Kubrick assisted in faking the 1969 moon landing. The film also fails to note what is hidden in plain view within the important scene that takes place in the bathroom between Jack and the ghost of the previous caretaker, Grady. Grady refers to the Black head cook, played by the iconic actor Scatman Crothers, as a “nigger.” Kubrick was as careful crafting language as he was with symbols, so that’s there for a reason, too. Jack’s mental illness is brought on not least because he craves acceptance into upper management at a resort hotel that caters to the well heeled, white and rich, who are forever dancing and drinking at a Fourth of July celebration. The price Jack must pay for admittance to the upper crust is the sacrifice of his family. The character played by Scatman Crothers is the only one trying to protect them. For King its all about the ‘demons’ of alcoholism and the ‘salvation’ of AA. To King, Crothers is the ‘magical negro’, a frequent staple of his stock and trade (The Green Mile, The Stand) but in Kubrick’s hands the character represents something much more.

King always resolves whatever conflicts he conjures within a morality play of possessive individualism. His characters–an endless parade of pop psychology tropes torn from a high school year book–are as wooden as his plots: The magical negro, the overburdened patriarch, the evil foreign interloper, the randy daughter, the undersexed milf, the touched giant, the addicted adolescent, so on and so forth. Each character a world unto themselves; all forbidden from exercising the only possible resolution to their woes–radical collective action.

King hated Kubrick’s movie because it skewered the very myths King had spent his entire literary career so passionately defending–the bourgeois family, the myth of a melting pot America, the ‘up by your bootstraps meritocracy’, Democracy vs the Evil Empire, etc.

All of this is now reappearing with a vengeance through a virulent strain of reactionary nostalgia for 1980s America, which is really the golden era of Stephen King. And he has imitators galore: Here come the amnesiac and conspiratorial Duffer Brothers, and Stranger Things, followed by Steven Spielberg and his Ready Player One. Both try and recast conformist and repressive strains of pop culture such as Van Halen and Yacht Rock, Dungeons and Dragons and Back To The Future as rebellion. The naval gazing, Wall Street speculating, anti communist computer nerds of Reagan’s America are the hero’s making America Great Again. There is a term for this, it’s called repressive de-sublimation. Look it up.

As an old ghost of antifascism I must draw the analogy: King’s entire oeuvre is to horror what the Anti-Defamation League is to antifascism, the Nature Conservancy is to ecology, or the 2017 Women’s March is to feminism. The latter the result of celebrities ‘leaning’ so hard into their ‘resistance’ they fell over the day after Donald Trump was inaugurated. Ooh. Scary!

Kubrick, while not a leftist, and probably not a feminist, was at least my kind of nihilist, unsparing and sharp, his erudite vitriol always serving to clarify relations of power, rather than obscure or justify them.

He may not have had an alternative to the world of shit within which we live, but his work helps us not mistake that world for a flower garden, which is more than one can say for all the typing Stephen King has ever clacked out. “All Work And No Play Makes Stephen A Dull Boy.”

Aside from the greatest American horror film ever made, Kubrick also made the greatest film of political satire: Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964!?!). A great satirist needs a wicked sense of humor, and I think Kubrick took some inspiration from Jonathan Swift’s, A Modest Proposal For preventing the Children of Poor People From being a Burthen to Their Parents or Country, and For making them Beneficial to the Publick (1729). You remember what that proposal was, yes?

Did Kubrick also create the greatest American antiwar film ever made in Full Metal Jacket? (1987).

A Clockwork Orange (1971) is a searing indictment of the postwar boom in youth subcultures, consumerism, social control and the inherent violence of the state.

2001: A Space Odyssey exposes every asinine iteration of George Lucas’ Star Wars as the juvenile cartoons they are. Yes, I hate Star Wars, too and I don’t care that it was originally conceived as having something to do with protesting the Vietnam War. They are all wretched films.

Long Live Kubrick!

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When Fascists Are Naughty Or Nice

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fascism, French New Right, Gilets Jaunes, Laicite, Marion Marechal-Le Pen, Mark Lilla, May 1968, National Front, Populism, Viktor Orbán, White Nationalism

“Two Roads For the New French Right” by Mark Lilla, New York Review of Books December 18, 2018.

Mark Lilla has written an essay on the French Catholic Right without using the term laïcité’, an achievement of sorts. It strikes me as a bit like writing an article about The National Rifle Association and not mentioning the Second Amendment, which you can do, but only if you are Sacha Baron Cohen, and its not an article you are writing, but a satirical sketch.

Come to think of it, Lilla also manages to explore a good chunk of the French far-right ecosystem without once using the term ‘fascism’. This will not do.

A liberal heavyweight of ‘populism’ studies and a critic of identity politics, Lilla writes that something is underway in France that is more than “xenophobic populist outbursts”. A “New French Right” is being assembled by some characters with questionable democratic credentials.

But what Lilla purports to identify as a new political phenomenon is not in any sense new to veteran anti fascists. It’s only new to him. Lilla, who understands not a bit of the essence of fascism, waxes cheerily about the hip, countercultural credentials of this latest iteration of the French far-right, as though this is the first time a political movement has raided the nostalgia box of May 1968.

For instance, what he describes as a New French Right owes much to the 1980-90s writings of Alain de Benoist, an obvious progenitor of the ideas that are the focus of his essay. de Benoist and his Nouvelle Droit (New Right) of the 1980s and 1990s was also influenced by Gramsci, and I think de Benoist coined the term ‘the right to difference’ way back when. The Génération Identitaire fascists of today, with their millionaire funders behind their slick tech savvy media stunts, are similarily fascsinated with Gramsci and hegemony,  the counter culture, environmentalism, etc. So is it a new, new French Right? Let’s not go down this road, for I fear we will end up reinforcing what is already a lexical hell.

Through this critique of Lilla’s essay, I will try a different approach.

The 3rd generation neofascist from the Le Pen stable, Marion Maréchal-Le Pen, (pictured above on her Granddaddy’s lap in a Riefenstahlesque National Front poster of yor) gets a treatment that reads like a human interest piece. She is a “stylish Frenchwoman” with a “slight, charming French accent” who politely opposes what she calls a “nomadic, globalized, deracinated liberal system”. “Deracinated” translates here as “uprooted”, but it works in the other sense, too.

Lilla writes that French intellectuals dismiss these new-right Gramscians as closet National Front supporters and therefore of little political significance. He then laments that “The left has an old, bad habit of underestimating its adversaries and explaining away their ideas as mere camouflage for despicable attitudes and passions.” We probably don’t agree on what is referenced above as “the left”, but what Lilla doesn’t understand is that it is not all of the left that is guilty of this, just part of the left.

Comrades within the Gilets Jaunes (Yellow Vests) who beat the living shit out of a National Front organizer during a recent Saturday protest are not paralyzed by attempts to parse French fascism into naughty and nice. But that’s what Lilla trys to do here.

Lilla is wringing his hands, as all liberals do when they sense the salience of their ideas approaching a denouement. One solution, of course, is to hop in the sack with the fascists by calling them conservatives.

“One possibility is that a renewed, more classical organic conservatism could serve as a moderating force in European democracies currently under stress. There are many who feel buffeted by the forces of the global economy, frustrated by the inability of governments to control the flow of illegal immigration, resentful of EU rules, and uncomfortable with rapidly changing moral codes regarding matters like sexuality. Until now these concerns have only been addressed, and then exploited, by far-right populist demagogues. If there is a part of the electorate that simply dreams of living in a more stable, less fluid world, economically and culturally—people who are not primarily driven by xenophobic anti-elitism—then a moderate conservative movement might serve as a bulwark against the alt-right furies by stressing tradition, solidarity, and care for the earth.”

Note how encouraging the nice French New Right could have a positive effect on democracy. And that’s the crux of the problem here: if the liberal democratic state is “under stress” and in need of a “moderating force” then the possibility that capitalist democracy is itself the problem is out of the question. This is the key concept around which all descriptions of ‘extremism’–from right or left–are constructed. And it is dangerous for antifascists to traffic in this stupidity.

The other possibility, according to Lilla, is this:

“A different scenario is that the aggressive form of conservatism that one also sees in France would serve instead as a powerful tool for building a pan-European reactionary Christian nationalism along the lines laid out in the early twentieth century by Charles Maurras, the French anti-Semitic champion of “integral nationalism” who became the master thinker of Vichy.”

So we have a passive and an aggressive conservatism that are behind what he calls the French New Right.

Both of Lilla’s scenarios are bunk. What is underway, and has been for some time, is a continental project of neo-fascism that has outstripped and scrambled familiar liberal categories. The only way to unscramble them is to reject both using a theoretical framework that is antifascist and socialist–from the left and below.

Lillla’s second scenario unconsciously references what I call the political geography of white nationalism within which all of this is taking place. This, together with neoliberalism, are what condition and structure this ‘new’ expression of the French far right, not vague notions of a global economy about which peope feel a generalized anxiety.

Let’s call it what it actually is: a fascist international in formation.

Also, just because one political creature of the far right prefers terms like “culture war” or “social organicism” in place of “race war” and “white nation” doesn’t mean such efforts have any empirical value for antifascists. Such  rhetorical flourishes cannot help us distinguish ‘good conservatives’ from ‘bad conservatives’.

All of this is ripped from history, as when Lilla writes “This is consistent with trends in Eastern Europe, where Pew [Research Center] found that Orthodox Christian self-identification has actually been rising, along with nationalism, confounding post-1989 expectations.”

Confounding whose expectations, exactly? Most antifascists I knew in the 1990s correctly predicted a profoundly destructive unleashing of far right forces once they were freed from the Cold War parameters that had previously limited their political options. Much of this neo-fascism had a Christian bent–not surprising at all if you understood the twin pillars of fascism to be white nationalism and the Chrisitian Right. If, however, at the time you believed in the righteousness and stabilizing influence of the post Cold War American led neoliberal order–the end of history, the universal utopia of the European Union, the expansion of ‘free markets’ and civil society, etc.,–there was no real threat of a renewed fascism, only a gradual diminishing of those ancient prejudices that would accompany progress. But that was never going to be the case.

Some of us were arguing way back when that a pan-European white nationalism was developing into what can only be described as a fascist international. The collapse of the Soviet Bloc didn’t unleash long buried ancient prejudices that ‘communism’ kept artificially suppressed, as some inept anthropologist or another wrote, it burst the Cold War anti-communist consensus and opened new horizons for fascism to challenge capitalist democracies and authoritarian states alike.

Perhaps most disturbing, however, is that Lilla, together with so many of his dim witted colleagues, never tire of fretting about the ‘anxiety’ and ‘xenophobia’ that supposedly accompanies (excessive) immigration. Exhausted from such intellectual turbidity, they have nothing left for an analysis of why people from the Global South move northward. To do so would mean bringing up the pulverizing wars, economic super exploitation and social dislocation that is always justified, when it is even acknowledged, by a zero-sum racism that says, effectively, “that’s the nature of the nation state. You can’t change that, only fight for your piece of the pie within it.” That successive French governments and corporations have played no small role in prosecuting these wars for profit and conquest is totally ignored.

In any case Lilla gets it backwards: immigration doesn’t drive xenophobia. The de facto racism of the French state (or American) and its beneficiaries drive the manufacture of immigrants, creating the finished product that becomes refugees. It’s a global killing machine, with an engine that uses humans as fuel. Liberals are incapable of getting this, which is why Hillary Clinton recently floated her ‘tough on immigration’ proposal, clearing the way for Chuck Schumer and Nancy Pelosi to offer Trump $1.5 billion for construction of his border wall. Will Democrats provide a ceremonial signature brick in that wall? How convenient and despicable, yet predictable and predicted. But I aggress.

As everything continues to slip sideways, the ground shifting beneath our feet, yesterday’s comrade today’s foe, everyone is reaching, struggling to capture what the fuck is going on. Lilla’s fumbling about illustrates my point: precisely when everything appears to be up in the air, fascism begins to thrive and has an opportunity to arrive.

“In countries as diverse as France, Poland, Hungary, Austria, Germany, and Italy, efforts are underway to develop a coherent ideology that would mobilize Europeans angry about immigration, economic dislocation, the European Union, and social liberalization, and then use that ideology to govern. Now is the time to start paying attention to the ideas of what seems to be an evolving right-wing Popular Front. France is a good place to start.”

No, it’s not a “right-wing Popular Front”, but a fascist international.

“The prerequisites for a European Christian nationalist movement may be falling into place, as Hungarian president Viktor Orbán has long been predicting.”

Again, this is fascism in formation and we don’t need a Hungarian dictator to point it out. Lilla has no problem expressing awe for the supposed prognosticatory powers of Orbán, but he can’t bring himself to say as much about antifascists who have predicted as much for thirty years. Orbán, by the way, isn’t only ‘predicting’ such a social transformation, he’s actively bringing it about. That’s called a self fulfilling prophecy, not a prediction. And as long as academics such as Lilla continue to use the framework of liberalism vs populism to try and apprehend 21st century fascism, and comrades on the left ape that analysis, then Orbán and his fascist humunculi will be rendered as oracles, rather than the fascist meat sacks they actually are.

It’s good that Lilla is reaching for a way to apprehend this transformation of the European Right, but trapped as he is within the sociology of ‘populism’ and the liberal assumptions that go with them he does not have much to offer.

Yanis Varoufakis and Bernie Sanders are fumbling in a similar manner with their newly launched ‘Progressive International”, which is at once progressive, but not socialist, and international, but not internationalist. From this confused and confusing framework both continue to waffle on the so-called ‘issue’ of immigration, which is not an ‘issue’ at all, only an expression of racism vis a vis the eternal and inviolable right to movement, which it denies. In any case, about the time Lilla, Varoufakis and Sanders get their shit together to confront the so-called ‘populist threat’,  the terrain has probably shifted again underneath their feet.

Academics and their postmortems.

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