Videos
for the
Fourth of July 2024
TWO FLAVORS OF HEGEL
- OR -
the comic book that changed my life

When I was 20, I fancied myself a revolutionary. I was pretty sure that capitalism was bullshit, man! Like, the oligarchs, man, they totally oppress us and shit! And, like, the PEOPLE need to seize POWER, in a nonviolent but nevertheless totally badass way. And, I dunno, maybe invent an economic system where no one has to live out of a cardboard box while some rich asshole is buying islands and rocket ships.
So I thought that meant I had to become some flavor of Marxist, OK, a cool, intellectual Marxist, a tweed-jacket Ph.D. Marxist, a Rosa Luxemburg variety with notes of Che Guevara, but still a disciple, a true believer.


Which brings me to Hegel. Hegel is the bass line to Marx, the hypnotic backbeat, the elegance and thrill of a dialectical view of history. The dance of contradictions continually resolving into higher states of consciousness, higher states of Freedom. Whoa. That’s not just radical or political. That’s almost Taoist. That’s some hallucinatory shit, man.
Hegel says history is the unfolding of the World Spirit, and we unconsciously act out the story. And in the telling, accelerating toward Nirvana, we become progressively more human, we bring God into the world and free ourselves.



As lovely as this sounds, this upsets a stable notion of God. In the beginning the Word already existed. The Word was God. BUT if God is just an endless chant OHHMMMMM, after a while, it gets a little boring. I mean, even if you’re God, you really should try to prepare something. Improve your material, God! But if God is telling a story, if God is making it up as They go along, does that mean that the Word multiplies in Time?

Hegel comes in two flavors.
Glinda the Good Witch might ask: “are you a Left Hegelian or a Right Hegelian?” It makes a big difference whether you think the story has already been written, or whether you’re making it up as you go along.

Left Hegelians are happy to listen to an improvised story. Right Hegelians want the script already in their lap. What version of freedom are you selling? Are you selling faith or authority?
​
Karl Marx started out as a Left Hegelian. Left Hegelians wake up at the beginning of the story, like watching a skywriter in wonder. At first you don’t worry about whether the pilot will make a spelling error. You’re just thrilled by the possibility that you can read the sky.


Young Marx was so much cooler than Old Marx. He’s like Elvis that way, in the early years before 1848, just transcendent, brilliant. But then he sells out to an industrialist manager Engels, who said, like the Colonel: “I’m going to make you a star, boy,” and grinds up his genius into a boring old Party line. Modern Communism is based on the Vegas Marx instead of the cool young Marx. He’s got an early essay For a Ruthless Criticism of Everything Existing, which is definitely a great name for a punk band’s first album:
It will happen that the world has long been dreaming of something it can have if only it becomes conscious of it. It is a matter of confession, nothing more. To have its sins forgiven mankind has only to declare them to be what they really are.
We do not sing the world a new song, we only wake the world to a song it has already been dreaming. ​​



​​But stupid people couldn’t handle it, and so they turned Marx, just like they turned Elvis, into a washed-up overweight blowhard.
Because in 1870 and 1917, they wanted authority, not faith. And the Vegas Marx indulged them. So he started to write these 900-page books (Das Kapital Volume 2: The Sequel!) repeating the Truth over and over like a jackhammer. Here’s a life tip: don’t sell your soul to a religion whose scripture is 900 pages of relentless German. Looking at you Hegel, Looking at you, Marx.
Old Marx looks like
Frasier Crane joined ZZ Top.



This is how Marx switched to being a Right Hegelian. Right Hegelians are storytellers who know better than their audience.
Fundamentalists, Communists, storytellers with a Jerry Falwell smirk, like they already know how this movie’s going to end. This confuses faith with certainty.
Faith is meaningless and unnecessary if you already know that God has promised you victory.
“Arise ye prisoners of starvation, arise ye wretched of the earth / for justice thunders condemnation, a better world’s in birth.” So, in this song, where a better world’s in birth, are we the baby or the midwife?


Which brings me to the comic book that saved my life. In the summer of my twentieth year, I lived in DC. I had a restaurant job in Rockville, Maryland. I took the bus for 45 minutes to work. One day, at the bus stop, some scruffy guys in leather jackets had a card table set up, selling punk bootlegs and anarchist propaganda. And I bought a comic book to read on the bus. Mikhail Bakunin’s Critique of State Socialism, illustrated as a comic book by Irish punks, the epic anarchist rap battle against Marx.
The subtitle: “Why authoritarian communism leaves us cold.”
It changed my life. But that’s another story.
Anarchist Alphabet
I can't write up a Political Philosophy.
I'm not disciplined enough to follow a Doctrine.
I don't believe in a Utopian Future.
​
I don't apologize for that.
Doctrines and utopias are broken playthings
in the dollhouse of Bad Politics.
​
The best I can do is get my licks in, alphabetically.

is for anarchism
When I was 20, I fumbled and twisted through
the thousand iterations of Marxism
like a Rubik's Cube.
​
Gee, I thought, maybe if I became a neo-post-Trotskyist
who critques Bukharin over the Left Opposition,
maybe if I could splice Rosa Luxemburg into the Sandinistas and whoever else looks good on a T-shirt . . .
​
Until the summer of 1982, when some scruffy punks
at a card table by the bus stop
sold me a comic book version of
Bakunin's Critique of State Socialism.
It blew my mind, permanently.
Liberals, socialists and communists
say that "anarchism" is an immature cop-out.
Trotsky scoffed that he didn't care about persecuting Anarchists because
"no one really bothered with their childish prattle."
​
Ouch.
Click on the image for the full PDF
They have a point.
Take Noam Chomsky, for example.
​
Here's Bob Black's hilarious takedown of Chomsky.
Chomsky once declared that
the case for anarchism is made by the fact
that he once heard "Jimmy from Revere"
calling in to WEEI Sports Talk
to criticize Belichick's nickel defense.
"Ordinary people have good ideas!" says Noam. "That's worker self-government!"
This has to be the worst argument
I've ever read for something I believe in.
Chomsky thinks we will reach the Promised Land, and Jimmy from Revere
can run the Patriots' defense,
if only the world would read
more of Chomsky's books.
​
If that's his plan to overthrow the Oligarchy,
count me out.


In the Spanish Civil War,
smug commissars
handed out propaganda leaflets
to starving Basque women militias
who were out of ammunition.
"This will help you fight fascism!"
said the radical intellectuals.
The Basque militiawomen
tore the leaflets up.
​
"Look, pendejo, we don't need
your bullshit lectures.
We need food.
We need ammunition."


is for Robert Burns
the Scottish Tom Paine

​I rediscovered Burns
browsing Celtic punk on iTunes
I found the Real McKenzies' Smokin' Bowl,
with lyrics from The Jolly Beggars (1785).
​
Anyone who can write something
in 1785 that holds up as a punk anthem
in 2022 is worth remembering.
See that smokin' bowl before you
Mark our glorius revelry
Round and round
take up a chorus
And in raptures loudly sing
A fig by the law protected
Liberty's a glorius feast
The court for the coward erected
And the church was built
to please the priest

is for Charlie Chaplin
He was said to be distraught
at the comparison between him and Hitler.
They did look a little alike.
​
Hitler played this up, posing as the Little Tramp.
So in in 1940, Chaplin made himself into
a Jewish barber who looks just like Der Fuhrer,
who gets switched up with him
and finds himself before the Nuremburg Rally.
​
He switches the text of the speech
from Sieg Heil to the Sermon on the Mount.
​
At first, Hollywood didn't want to release it:
​
"you never know who's going to win the war"
they said
I didn't even know about this until the Youtube algorithm paired me with it:
A King in New York (1957), made in England after he got deported in the McCarthy years.
Chaplin's 12-year-old son Michael (!) goes on an epic anarchist rant at his dad, inverting the final speech of The Great Dictator into an early SDS manifesto. Oh my god I'm dying.
D
is for Douglass

When Narrative of the Life of Frederick Douglass, an American Slave came out in 1845, white abolitionist William Lloyd Garrison wrote a frothy Preface, full of exclamation points and ALL CAPS:
Garrison meant well, but he was wrong to assume
that Douglass was as boring as he was.
Frederick Douglass speeches aren't just angry and righteous,
They're hilarious.
E.g.: "Many slaves think their own masters
are better than the masters of other slaves.
Indeed, it is not uncommon for slaves to fall out
and quarrel among themselves about this.
They seemed to think that the greatness of their masters
was transferable to themselves.
It was considered bad enough to be a slave;
but to be a poor man’s slave was deemed a disgrace indeed!"
Now that's Richard Pryor-level funny.
​

Check out Epic Rap Battles of History,
best Youtube series ever
E
is for Brian Eno

I have no idea what Brian Eno's politics are, but it hardly matters.
All I know is that this is the album I listened to in school
when I thought about
Hegel and Marx
and how we are encased in time.
I wasn't smart enough
to invent answers on my own,
so whatever I think now
must have come from the music
my brain was marinated in.
F
is for Freedom Rides

The Freedom Riders didn't complain
about safe spaces and micro-aggressions.
​
They went into completely unsafe places
to face down macro-aggression
singing, making good trouble.
​

is for Emma Goldman


In My Disillusionment in Russia (1924)
there’s a poignant chapter “Arkangel.”
Most of her memoir is about her horror
as the Bolsheviks shuttled her around Moscow
as a politically suspect American celebrity.
She slowly realizes that this was the opposite
of the Workers Revolution.
But she detours for two weeks
to the Arctic outpost Archangel near Finland.
​
It attracted no interest from the Cheka or Bolshevik Terror.
Because of its sheer remoteness,
it was somehow preserved as a sanctuary
for what Emma had hoped the Revolution would be.
​
The local authorities didn't order reprisals
against captured Whites,
former Tsarists simply became comrades,
nuns were allowed to hold posts
without renouncing their order,
children swarmed with affection
over their anarchist schoolteacher,
no one cared about Lenin-Trotsky-Zinoviev power struggles,
even though food was scarce and winter set in,
the small town was happy.
They shared food and put on plays,
like some anarcho-socialist Brigadoon.
A metaphor, I guess.
Like there are always places in time, Arkangel, Arden,
hidden away from the usual tragedies of power and cruelty.
At a Socialist conference in 1890, a band played and I danced with abandon.
A serious young man took me aside.
With a grave face, he whispered that it did not behoove an agitator to dance.
My frivolity would only hurt the Cause.
It would show I was not properly ashamed of my petty-bourgeois background.
I grew furious.
“I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.” Anarchism meant that to me, and I would live it in spite of the whole world –
prisons, persecution, everything.
Yes, even in spite of the condemnation of my own comrades I would live my beautiful ideal.
- Emma Goldman, Living My Life


is for Hegel
I wrote my thesis on Hegel.
​
I bought the Big-Picture model of History,
the galactic movement of huge inexorable forces
filtered through Marx.
​
But where does that leave us ants
scuttling inside the anthill?
What do we who are trapped in history
get to know about where we are,
and where we're going?


Check out Corey Mohler's hilarious Existential Comics
I
is for Industrial Workers of the World



Fun fact:
The Simpsons is partly based on
Mr. Block, an IWW comic book from 1910.
​
The IWW didn't put out propaganda telling workers how to become
model anarchists.
​
Instead, their comics followed
a naive Homer Simpson character
Mr. Block, who loves the boss
and trusts in capitalism and the Flag.
​
D'oh!
J
is for Chuck Jones
In 1969, I was seven years old.
I didn't know much about Woodstock or the Weather Underground, but I learned everything I know about politics
from Saturday morning cartoons.
​
I hated the superhero stuff.
Even at seven years old I could tell that
Superman and Johnny Quest
was bullshit propaganda.
​
But God did I love Roadrunner cartoons.

My grade school teacher disapproved.
"Those cartoons are too violent."
People who see Roadrunner as violent
are identifying with the wrong character.
​
No, there's something Gandhian about it.
The Roadrunner harms no one.
He just steps away, refuses to participate.
and lets violence react against itself.
​
"Whosoever diggeth a pit, shall fall in it."
Roadrunner was based on a 1944 campaign cartoon Chuck Jones did for the United Auto Workers supporting FDR.
​
A Republican Senator keeps trying to hypnotize an innocent union worker, but every trick blows up on him, hoist on his own petard.
​
Roadrunner was Chuck Jones's sublimation of this
New Deal cheekiness into a format that
the House Un-American Activities Committee
couldn't reach.
There is more joyful postmodernism in Roadrunner than in all of Derrida and Foucault.
​
Like when Wile E. Coyote paints a tunnel on a mountain, and then the Roadrunner runs into the painted tunnel. When Wile E. goes after him, POW! He smashes into his own violent reality.
The oppressor thinks he controls
reality and illusion, but sometimes
we are more maneuverable, and faster.
Beep-beep!


is for Kronstadt
March 1921: the sailors of the Kronstadt naval base, spearhead of the 1917 October Revolution, rise up against the Bolsheviks.
Trotsky sends in the Red Army to wipe them out. The slogan of the sailors' council

All Power to the Soviets is counter-revolutionary now, says Trotsky, because the Party is the only power that matters. Anyone resisting the Party is an agent of the Whites. There's a hilarious exchange between Trotsky and Emma Goldman writing from their respective exiles in 1938. Trotsky says humph, look at all these liberal hypocrites weeping for those anarchist traitors. Sure in 1917 they were the leading element of the Revolution, but by 1921 they were just a bunch of degenerate hippies "including a great percentage of completely demoralized elements, wearing showy bell-bottom pants and sporty haircuts."
Emma Goldman wasn't going to take that lying down.
She wrote a response:
​
"Leon Trotsky quotes Marx,
'that it is impossible to judge either parties or people
by what they say about themselves.'
​
How pathetic that he does not realise how much this applies to him!
No man among the Bolsheviks has boasted so incessantly
of his share in the Russian Revolution as Leon Trotsky.
Yet now he sits in exile, on the dustbin of history.
By this criterion of his great teacher,
one would have to declare all Leon Trotsky's writing to be worthless ...
Trotsky ridicules the demands of the sailors for Free Soviets.
Actually the free Soviets had ceased to exist at an early stage,
as had the Trade Unions and the co-operatives.
They had all been broken on the wheel of the Bolshevik State machine."

"A mouth is always muzzled
by the food
it eats to live"
​
-Martin Carter

L
is for Lucarelli

Cristiano Lucarelli is an Italian soccer star from Livorno,
a small factory town with a struggling team
at the bottom of the Italian Serie A League.
Livorno’s fans are the leading opposition
to hooligan violence in Italy.
Every Livorno match is an anti-fascist carnival.
The big corporate teams, AC Milan, Roma, Torino, offered Lucarelli huge contracts,
but he turned them down to play for Livorno at half the price.
When reporters asked why, he said:
“Some players spend their money on Ferraris and yachts.
I spent mine on a Livorno jersey!”

is for Jean Moulin
Illustrator of children’s books who became the leader of the French Resistance.

In 1943 he was captured and interrogated by
SS Captain Klaus Barbie. According to Gestapo records,
Barbie gave Moulin a pencil and demanded a list of Resistance safe houses on pain of torture.
Moulin scribbled furiously for an hour, then handed back
a pornographic cartoon showing Klaus Barbie
getting a blow job from his adjutant.
Barbie was so enraged he shot Moulin on the spot, stupidly keeping the names in Moulin's head safe.
But for Moulin's cartoon,
the Resistance would have been wiped out.
Moulin was the model for
Viktor Lazlo in Casablanca.

is for Nietzsche
Either a fascist mistaken for an anarchist, or an anarchist mistaken for a fascist.
It depends on how seriously
you take him.


Check out Nietzsche Family Circus, randomized pairings of Family Circus cartoons and Friedrich Nietzsche quotes

FAMILY at dinner.
​
SON just had his wisdom teeth out.
He holds an ice pack against his cheek.
MOTHER: "it's very important that you don't laugh."
​
SON and FATHER break into mutual smirk, flashing back to Monty Python DVDs they secretly watch at bedtime instead of stories.
​
FATHER bites his lip, contorting his face to avoid laughing.
​
MOTHER: "What are you grimacing at?"
​
FATHER: "Sorry, just thinking about how
suffering is the human condition."
​
SON struggling against his laugh, in a Novocaine slur:
"Yeth, we are born intho dethspair, only to die alone."
​
FATHER spits out his soup, snorting some through his nose.
​
SON, red-faced, surrenders to painful, convulsive laughter
OW OW OW OW.
Now that's my kind of existentialism.
O
is for Orwell
My biggest hero,
the voice I most want to imitate
I had read Animal Farm and 1984 in school, of course,
but at first I took them as so much Cold War propaganda.
​
It's the Essays that found me out in the summer of 1986.
I was clerking for the Steelworkers Legal Dept. in Pittsburgh,
assigned to write flowery resolutions for the Union Convention.
​
I wrote something New Lefty about
opposing the military-industrial complex,
until my supervisor said:
"Now slow down there, son.
There's a lot of good union steel in those missiles."
That weekend in a used bookshop,
the four-volume Essays were waiting for me,
If I have a Bible it's the Essays.
​
I hate it when neocons claim Orwell for their own -
"No!" I want to say. "He's mine! MINE!"



is for Parodic Fair Use
The San Diego Chicken is a baseball entertainer.
One night between innings at a Texas Ranger game,
the Chicken has a guy in a purple dinosaur costume
walk out to the Barney theme “I Love You, You Love Me.”
The Chicken proceeds to beat Barney up,
kicking and punching his huge purple Styrofoam head,
whacking him senseless with a foam rubber bat.
The crowd goes wild.
Lyons Partnership, L.P., owners of the Barney the Dinosaur™ franchise,
file a federal lawsuit against the San Diego Chicken, aka Ted Giannoulas.
Their main claims are copyright infringement and “trademark disparagement.”
They argue that the mental image of Barney
has been tarnished by the Chicken’s assault.
They file affidavits from parents of traumatized children:
“My daughter cried, ‘They’re hurting Barney!’”
The Chicken’s lawyers counter with affidavits from child psychologists,
who testify that Barney should be beaten up.
The Fifth Circuit held that the Chicken was making
a legitimate political comment:
​
“Perhaps the most insightful criticism regarding Barney
is that his shows do not assist children in learning
to deal with negative feelings and emotions.
As one commentator puts it, the real danger from Barney is
‘denial: the refusal to recognize the existence of unpleasant realities.
For along with his steady diet of giggles and unconditional love,
Barney offers our children a one-dimensional world
where everyone must be happy and everything must be resolved right away.’"
The Court held that the Chicken wasn’t stealing Barney’s image,
he was just whacking it upside the head.

Fair use
​Notwithstanding the provisions of the Copyright Act, the fair use of a copyrighted work, including such use by reproduction in copies , for purposes such as criticism, comment, news reporting, teaching, scholarship, or research, is not an infringement of copyright.


is for Quantum Mechanics
Marxism can't handle the Multiverse.
It assumes there is only one historical timeline.
We apparently get to pick among infinite branching paths
in Time going forward- that's what free will is all about, right?
But the past seems frozen- everything leading up to Now was inevitable, and it couldn't have been any other way.
Marxists claim to know the Big Purpose of History,
so they twist themselves into knots
to explain human agency without disrupting
the Unified Narrative That Explains Everything.



But what would Lenin have said about quantum mechanics, the math that implies the Multiverse? What does the Revolution look like if we are operating on every possible timeline - where the Muslims conquer Europe in 732 or 1492, where the Spanish Armada wins, where Kerensky defeats Germany, where Stalin dies of tuberculosis in 1919? What's left of the March of History if random events turn Time into chaos?


Sartre says that every choice murders all the worlds left unchosen.
The 20th Century was cursed by the idea from Lenin to Mao, from Rhodes to Himmler to Kissinger to Milosevic, that we should murder intelligently -
follow the Correct Line, close off all paths that don't lead to Victory.
​
Physicists mutter darkly about the appeal of Quantum Suicide. If we believe we are navigating the Multiverse, why bother living in realities that are less than perfect?
​
Here's a love story that answers them:


is for the
Real
Picasso Museum


On our honeymoon in Paris 1998,
we were walking into the Picasso Museum,
when we got accosted
by a squatter artist collective
who had taken up temporary residence
in an abandoned tenement
across the street.
They hailed us in a whisper,
like drug-dealers:
"hey, American tourists,
you want to see some REAL art?"
And for an hour we wandered
through a Brigadoon landscape
of wild anarcho-futurist installations like this one:
a tie rack with the sign
"hanging ties announce the death of the bureaucracy."
Afterward, the Musee Picasso seemed
so tame and bourgeois.

S
is for Joe Strummer

We shouldn't idolize him.
That would contradict what the Clash were saying. Some of those tracks in the later albums were,
let's face it, preachy and self-indulgent.
​
But those first three albums -
in 1977 when everyone else was sticking
safety pins in their faces, when Sid Vicious wore
swastika T-shirts and pretended he was a rebel,
Joe Strummer sang us real revolution.
When Trump was elected, Henry Rollins said
"don't be afraid. These are the times that
Joe Strummer was training you for."
The future is unwritten

is for Toussaint L'Overture

Grande Riviere
This October 15, 1791
​
To M. Biassou, brigadier of the Army at Grand Boucan
​
My very dear friend:
​
In keeping with the request
I just made of the Spanish and daily awaiting the thing I asked for,
I would like to have crowbars in order to have the rocks of the mountains of Haut du Cap fall to prevent the slaveowners’ forces from approaching us, for I think they have no other means without exposing their people
to a slaughter.
I ask that you make sure with the spy you have sent to have him clearly explain where the powder works are in Haut du Cap so we can succeed in taking the powder works.
Thus my friend you can see if I took precautions in this affair you can tell this to Bouqueman. If you need tafia I will send you some when you'd like, but try to use it sparingly.
Send me a few barrows for I need them to transport wood to put up cabins for my people.
I ask you to assure your mother and sister of my humble respect.
I have the honor, my dear friend, of being your very humble, obedient servant - Toussaint
"It was the slave revolt in Haiti that tied Napoleon’s soldiers down. It was Toussaint L’Ouverture who forced Napoleon to sell half of the American continent to the United States. Without Toussaint, the United States wouldn't exist. That is the history they don't teach us."
- Malcolm X
​
Toussaint declared he was a soldier of the French Revolution fighting for the Rights of Man:.
He was a better Jacobin than Robespierre,
a better general than Napoleon.
His military dispatches are thrilling, like his urgent message to Bissou in 1791 asking for crowbars to dislodge the rocks
over the pass at Haut du Cap to fall on the slaveowners' army. Maybe people would remember the Haitian Revolution better if Hollywood made it a cool war movie, starring Idris Elba -
"Send me Crowbars!" with cool explosions.
​
I once got scolded by anxious white friends after performing a play on Toussaint in 2010 with Haitian poet Charlot Lucien.
​
They said I don't get to identify with Toussaint:
"This is not your story to tell! Just dwell on the shame of all the Evil White Guy DNA inside us!"
​
I said no, this is the very quarantine we did the play to break.
​
I identify with Toussaint because I identify with
Liberte, Egalite, Fraternite,
and neither Trump nor the woke police
can stop me from doing that.

is for the Ukrainian Cossacks' Reply to Sultan Mehmed IV
In 1676, Sultan Mehmed IV
demanded the surrender of
the Zaphorozhian Cossacks of Ukraine:
As the Sultan; brother of the sun and moon; grandson and viceroy of God; ruler of the kingdoms of Macedonia, Babylon, Jerusalem, Upper and Lower Egypt; emperor of emperors; sovereign of sovereigns – I command you,
the Zaporogian Cossacks,
to submit to me voluntarily
and without any resistance.


The Cossacks wrote this reply:
O sultan, Turkish devil, secretary to Lucifer himself.
What the devil kind of knight are thou,
that canst not slay a hedgehog with your naked arse?
The devil shits, and your army eats it.
Thou shalt not, thou son of a whore, make subjects of us;
we have no fear of your army,
by land and by sea we will battle with thee.
Fuck your mother, thou Babylonian scullion,
Macedonian wheelwright, brewer of Jerusalem,
goat-fucker of Alexandria,
swineherd of Greater and Lesser Egypt,
pig of Armenia, Podolian thief,
catamite of Tartary, hangman of Kamyanets,
and fool of all the world and underworld,
an idiot before God, grandson of the Serpent,
and the crick in our dick.
Pig’s snout, mare’s arse,
slaughterhouse cur, unchristened brow,
screw thine own mother!
So the Zaporozhians declare, you lowlife.
Now we’ll conclude, for we don’t know the date
and don’t own a calendar;
the moon’s in the sky, the year with the Lord,
the day’s the same over here as it is over there;
for this kiss our ass!
– Koshovyi otaman Ivan Sirko,
with the whole Zaporozhian Host
V

is for Villa's rejected offer
On Dec. 7, 1914, Pancho Villa and Emiliano Zapata met at the Presidential Palace in Mexico City, surrounded by their rebel armies.
Pancho Villa wanted to take turns sitting on the presidential throne for photographs.
“I didn’t fight for that,” said Zapata.
“We should burn that chair.”

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W
is for Mary Wollstonecraft
The female Tom Paine
first-wave feminist trapped in the 18th Century
Hapless woman!
what can be expected from you,
when the beings on whom you naturally depend for reason and support, have all an interest in deceiving thee!
This is the root of the evil
that has shed a corroding mildew
on all your virtues; and blighting in the bud your opening faculties, has rendered you a weak thing!

is for Malcolm
In essence we want one thing.
We declare our right on this earth to be a man,
to be a human being, to be respected as a human being,
to be given the rights of a human being in this society,
on this earth, in this day,
which we intend to bring into existence
by any means necessary.

is for the Yippies


is for Zhou Enlai
I'm contradicting myself,
ending this "anarchist" pantheon with a Stalinist lieutenant of Mao

But I think of him the way I think of Gorbachev
or FDR, a man of the State who was saner, more humane, than the murdering lunatics around him.
While Mao presided over famines and mass executions, Zhou was building modern China.
​
This photo stays with me: Cultural Revolution, 1967. Mao takes his Central Committee backstage
at the Beijing Model Opera to hang out with the cast of The East Is Red. Actors still in stage makeup, ecstatically woke, chanting from the Red Book.
Only Zhou Enlai is staring blankly into space.
​
Mao is giving him the side-eye, checking to see if Zhou is sufficiently enthusiastic,
​
Zhou is struggling to keep from rolling his eyes,
his face a mask, longing to get back to real work.

​Despite postmodernism’s rejections of utopian ideologies, there’s always the seduction of the old class line. The red banner of world revolution and the fight against the unitary systems of oppression; the state and capital.
There’s comfort in the politics of ‘us and them’; a sense of belonging, shared identity and even a self-pitying, self-perpetuating victimhood.
​
Marxism offers us liberation as a historical inevitability.
It’s a cozy set-up whereby a dialectic of opposing forces pushes us forth towards our communist destiny. The proletariat, as a uniquely revolutionary social category, is fated to usher us into an epoch of social harmony after the resolution of its antagonisms with the bourgeoisie, via world revolution and a transitory stage of socialist dictatorship.
Well isn’t that lovely? It has the same morbid attraction of organized religion; the promise of a utopian future, of a linear progression of time with a teleological end, of salvation through sacrifice to a philosophical abstraction.
Marxism has solved all the quandaries. It has all the answers. It has reduced the irreducible multiplicities and struggles into a war between the bourgeois and the proletariat, identifying capital as the unitary source of concentrated power from which all domination emanates. Simple – it’s them and us. Eliminate them, and all will be well. Eliminate the base, collectivize the means of production, and all else – the whole intricate superstructure of power; its techniques, subtleties and flows – will fall into place.
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This leads to an arrogance that allows the various Marxist parties to declare themselves ‘the vanguards’ of the proletariat. Just as a religious sect anoints itself as the key to redemption while damning all the other sects to hell, the Marxist parties promote themselves as the keepers of the keys of proletarian revolution. They accuse rival Marxist-acronyms of being petit-bourgeois, reformist, sectarian, ultra-left, idealist, or even Zionist/Imperialist stooges.
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Onwards to the ‘transitional phase‘, as the Central Committee see to it that the state withers away as quickly as possible. Everything surrendered to the workers’ state, the benevolent managers and the administrators, in the promise of communism tomorrow, the next generation, or one after, just as soon as we get around to solving all those ‘class antagonisms’.
Marxist consequentialism and Hegelian historicism crushed the rebellion at Kronstadt, the Makhnovist army in Ukraine and the workers’ councils of Spain, all for the greater good, for a warped utilitarian ethic where everything can (and was) sacrificed for the higher ideal, for the realization of the Marxist prophecy, for the forward march of history and for the proletarian dictatorship.
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Anarchism by contrast embraces a prefigurative politics; one where means is not subordinated to ends and theory is not separated from practice. Direct action by ad hoc groups of individuals takes precedence over struggles mediated by representational hierarchies and rigid organizational structures. But anarchism does not usually refuse the delineation of the world into two economically-determined camps – 1% vs. 99%, and it has not abandoned the illusory goal of an flourishing human paradise on earth – one without anxiety, antagonism and struggle. It still cherishes the end target of total social harmony.
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Primitivists have tried to convince us that before civilization, before The Fall, there was a paradise akin to the Elysian wonderland of the naked Adam and Eve of the Western creation myth, in which people and nature were one, in which property and class were anathema and humanity shared in abundance. Zerzan eulogizes a lost existence; an unalienated, unmediated and unworried life.
Who knows if it ever was? What can an anarchist anthropology offer in this regard? In our current situation, we have to drop this quasi-religious faith in a coming nirvana and regressive nostalgia for an age we have never lived.
We have to drop this creed of optimism in a remote heaven. Stop romanticizing an ever-illusive working class identity.
Realize revolution as a perpetual process, a constant becoming and not an end to be achieved absolutely.
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Embrace multiplicity and difference with a politics of desire, not duty and self-sacrifice. “I take my desires for reality because I believe in the reality of my desires.”
Initially attractive as an alternative to the dreariness of the Marxist left, anarchism was about doing things in the here and now, not waiting in vain for The Crisis and pushing papers, waving the flag, listening to speeches for a the approaching revolution or the hotly-anticipated resolution of social strife.
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So there’s a class war on, dickhead, pick a fucking side. We can reconcile our wishy-washy-posty-moderny tripe with this simple statement anytime we like: When we see police beating rioters, when the young looters are locked up for years while bankers are rewarded handsomely for their thievery, when millionaire governments strip away the livelihoods of vulnerable and disenchanted people.
When benefits that were won by the struggles of the multitude are attacked, we see no contradiction in fighting on the side of ‘the oppressed’, but we do so without any illusions.
We’ll not deny the existence of class, but we’ll accept it as something dynamic and unstable, with no fixed or homogenous identity.
We’ll confront economic oppression as one of a myriad of oppressions. We won't idealize the proletariat as some uniform bloc of subdued charity-cases, while opiated with nostalgia for the salt-of-the-earth pickets and the struggles of times gone by.
Rhizomatic power is pushing in all directions and across class boundaries. There is no center of power, no simple, neat pyramid, only intersecting practices of power. We can’t reduce everything down to the bourgeois/proletarian dialectic.
It is possible to refuse and resist economic oppression without falling prey to the dogma of ‘historical agents’ and ‘proletarian awakenings.’ It can be called taking the side of the workers if you like, or taking the side of the exploited. If there’s a hypocrisy in this position then fine, we’ll embrace the inconsistency.
















