Cafe Marx

My review of Stuart JeffriesGrand Hotel Abyss: The Lives of the Frankfurt School is in Saturday’s Irish Times.

grandhotelabyss

… It is this embrace of negativity that is so bracing to some and frustrating to others, even within the school. During the 1960s student protests, change was deemed possible by Marcuse, who embodied a sunnier, Californian take on critical theory. The institute’s “late ethos” is likewise predicated on the feasibility of “ameliorating the conditions of capitalism and liberal democracy”. Yet Café Marx, as it used to be called derisively, remains tainted by Georg Lukács’s quip that these representatives of the chattering classes — branded traitors by Brecht — had holed themselves up in a beautiful hotel “equipped with every comfort, on the edge of an abyss, of nothingness, of absurdity”. There is a great deal of wisdom, however, in Adorno’s suspicion of revolutionary students’ “aversion to introspection”, which he had already observed in the dark days of Nazism. “I established a theoretical model of thought,” he told an interviewer in 1969. “How could I have suspected that people would want to implement it with Molotov cocktails!” There is also a great deal of hope in his belief that “whoever thinks offers resistance”.

At its best the Frankfurt School was always a think tank — in the armoured-fighting-vehicle sense of the word.

Expenditure for Nothing

Roland Barthes, “An Interview with Jacques Chancel (Radioscopie),” Essays and Interviews Volume 5

I was alluding to the fact that writing today is an expenditure for nothing, an ‘unconditional expenditure’, as Georges Bataille would say … It’s a sort of perverse activity which, in a sense, has no purpose, cannot enter into any knind of accounting and always goes beyond the practical tasks we may ask of it..

No doubt writing’s part of social exchange. When you write books and have them published, it’s all part of a publishing market and belongs to a particular economy. But, in writing, there’s always something additional which goes beyond questions of economic return and it is the pour rien, the ‘for nothing’ that defines the ‘bliss of writing’ and is, therefore, a perversion.

Cultural Osmosis

Roland Barthes, “An Interview with Jacques Chancel (Radioscopie),” Essays and Interviews Volume 5

I said that you can say this because we live in a cultural world where there’s a ‘superego’ — a pressure that makes us feel obliged to read certain books, so that we’d feel guilty if we hadn’t. I simply wanted to push back against that pressure and explain that we very often know books without having read them — there’s a sort of cultural osmosis that happens.

[See Umberto Eco.]

An Essential Discomfort in the World

“We moved house often, and each time it appeared that it was the perfecting of our environment that was causing us to leave it, as though living there had been a process of construction that was now complete. (…) To continue creating, a person perhaps has to maintain an essential discomfort in the world.”
Rachel Cusk, “Making House: Notes on Domesticity,” The New York Times Magazine 31 August 2016

[See Andrea Barrett and Mary Ruefle.]