Enzensberger Hans Magnus Critical Essays
Enzensberger Hans Magnus Critical Essays
Enzensberger Hans Magnus Critical Essays
CRITICAL ESSAYS
E D IT O R IA L BOARD
CRITICAL ESSAYS
Edited by
Reinhold Grimm and
Bruce Armstrong
Foreword by John Simon
CON TIN U U M N EW Y O R K
Contents
116
vi Contents
3. On the Inevitability of thie Middle Classes:
A Sociological Caprice 224
Translated by Judith Ryan
4. Two Notes on the End of the World 233
Translated by David Fernbach
Notes
243
Foreword
vii
viii Foreword
seem to consider this sort of searching, far-ranging, well-informed,
intellectually and morally challenging essay the monopoly of French
literature and blithely ignore the contribution of such distin
guished German essayists of all periods as Professor Grimm ad
duces. But much as I deplore the other omissions, the absence of
Enzensberger from Anglo-American awareness seems to me partic
ularly unfortunate.
The reason is plain enough. In fact, it is plainness itself. For
Enzensberger knows how to deal with complicated ideas and fine
discriminations in a style that, though anything but inelegant, is
nevertheless stunningly straightforward and plain. We live in an
age need I remind you of this melancholy truth? when plain
statement in any field, but particularly in the critical, cultural, or
political essay, is extremely hard to come by. For this, the French
and their Anglo-American emulators are especially to blame. Not
so Enzensberger. He may have begun as an adherent of Marxism,
but by now even that -ism at least in its doctrinaire form has
been left behind. With the more modish and obscurantist ones he
never had any truck. The only -ism that persists in his work is
humanism. There are no hobby horses; only horse sense.
What Enzensberger can do with the essay, you will find out as
you turn the pages. Here, however, I should like to quote a poem
of his; partly in order to remind you of a very important other
aspect of his talent, but even more so as to give you a sense of the
essential Enzensberger expressed most tersely, yet with those per
sistently, understatedly reverberating ironies that I urge you to no
tice in the prose as well. The poem is called Remembrance.
Well now, as concerns the seventies
I can express myself with brevity.
Directory assistance was always busy.
The miraculous multiplication of loaves
was restricted to Diisseldorf and vicinity.
The dread news came over the ticker tape,
was taken cognizance of and duly filed.
Unresisting, by and large,
they swallowed themselves,
the seventies,
Foreword ix
without guarantee for latecomers,
Turkish guest workers and the unemployed.
That anyone should think of them with leniency
would be asking too much.
The tone, mutatis mutandis, is very much the one of Enzensbergers best essays: the chiseled mockery of a civilized man who has
not given up the fight, but who chooses his weapons fastidiously:
the implication-drenched detail, hearty irony, incitement to thought.
This is in the best tradition of the German essay. Besides the
authors with whom Professor Grimm brackets Enzensberger, we
should also invoke Heine and Kleist, Karl Kraus and Frank We
dekind. Their mode, except for Heines, may be harsher than that
of Enzensberger, but they are ironists all, and quite as much his
ancestors or mentors. And here it behooves us to recognize how
few of our English and American essayists had this kind of sar
donic acumen to apply equally to culture and politics: George O r
well, of course, and Edmund Wilson, and doubtless a few others.
But they are precious few, and Hans Magnus Enzensberger, in
good English translations, readily assumes a place beside them as
their equal. For what gives him the finishing touch of the Renais
sance man is his internationalism. However much we might wish,
defensively, to relegate him to otherness to being German, Euro
pean, Continental, or whatever it wont wash. He stands right
beside us, whoever we are. He is one of us.
J o h n Sim
on
Introduction
xii Introduction
of poetry, containing some of the finest post-war verse written in
German. His lyrical breakthrough in 1957 had been likened to the
meteoric rise and lasting fame of Heinrich Heme, and in 1963 he
had been awarded the prestigious Buchner Prize which commem
orates Heines contemporary, Georg Buchner. More achievements
were to follow: a documentary play and a documentary novel, a
pair of libretti, an epic, another three volumes of poetry, and two
more volumes of essays and criticism. Enzensberger was also ac
tive as a prolific and conscientious editor who enjoyed that rarest
of editorial gifts: serendipity. W ith his two journals alone, Kursbuch (timetable or railroad guide a title abounding in ambigui
ties and allusions) and Transatlantik, founded in 1965 and 1980
respectively, he might safely boast of having ensconced himself as
the most innovative and stimulating literary promoter and critical
mediator of his generation.
Born at Kaufbeuren, a small town in the Bavarian Allgau re
gion, in 1929, Enzensberger grew up in Nuremberg, the atmo
sphere of which, during the thirties and early forties, was a strange
and often stifling mixture of provincial remoteness and drowsiness
touched with faint recollections of a magnificent past, and the
deafening din and foaming bombast of Hitlers party rallies and
bloody warmongering. Enzensberger lived through the musty idyll
and the pandemonium, as well as the devastating air raids that
soon began to sweep the city. Toward the end of the war, he was
drafted by the Nazis desperate conscription of shaky old men and
underfed teenagers, the Volkssturm. Later he dabbled awhile in
the black market and tried his hand at the theater; he also finished
high school. Having attended various German universities, as well
as the Sorbonne, where he studied literature, languages, and phi
losophy, he earned his degree at Erlangen near Nuremberg. Enzensbergers dissertation analyzed the techniques of the Romantic
poet Clemens Brentano. It was eventually published. He graduated
with honors, receiving his doctorate summa cum laude at the age
of twenty-six.
Enzensberger could easily have entered an academic career, but
his aims were different. Immediately after finishing his studies, he
joined the Stuttgart Radio and was assigned to the section dealing
with essays; later, he served as a reader for the Suhrkamp Verlag,
which became his publisher. In between, he was a visiting lecturer.
Introduction xiii
Since 1961 Enzensberger has lived and worked as a freelance writer
and has gained spectacular success and great stature. In 1970 he
founded a publishing house of his own.
Enzensberger traveled a great deal and, in fact, sojourned for
long periods abroad. As a student he toured Europe, emerging in
Spain and Greece, in Finland and Italy wherever the torn and
ravaged continent was accessible then. Subsequently, he took a
good look at North and South America, at Australia, China, and
the Soviet Union. There is hardly a country of importance that he
has not inspected. ( Fieldwork is a favorite term of his, applica
ble in both a literal and a figurative sense, if we think of docu
mentary works like Der kurze Sommer der Anarchic: Buenaven
tura Durrutis Leben und Tod [The Short Summer of Anarchy:
Life and Death of Buenaventura Durruti], 1972, his novel on
Spanish anarchism; Das Verhor von Habana [Hearings from H a
vana], 1970, his play on the abortive Bay of Pigs invasion; or even
poetic works like his monumental epic Der Untergang der Titanic:
Eine Komodie [The Sinking of the Titanic: A Comedy], 1978; and
his equally momentous collection Mausoleum: Siebenunddreissig
Balladen aus der Geschichte des Fortschritts [Mausoleum: ThirtySeven Ballads from the History of Progress], 1975, about the
progress of barbarism.)
Enzensberger has also lived in Southern Norway, at times re
treating to a tiny island in the Oslo Fjord, and in the insular yet
cosmopolitan city of West Berlin, a place of strangely extraterri
torial climate and yet somehow also a hub of things. In 1980 he
moved to Munich, probably because of responsibilities arising from
his new editorship. Before 1980, Enzensberger spent at least a year
at Lanuvio near Rome and nearly a year a crucial, searching,
and disappointing one in Castros Cuba. He appears regularly in
New York and the Eastern U.S., although in 1968 he gave up his
fellowship at the Center for Advanced Studies at Wesleyan Uni
versity and left the United States in open protest against the war
in Viet Nam. The letter in which he explained his decision, a
scathing piece of criticism published jointly by the New York Times
and the West German weekly Die Zeit, is still held against him by
a number of people.
But controversies are inevitable for Enzensberger, since he is not
only a widely traveled and highly intellectual, but also a deeply
xiv Introduction
committed and boldly experimental author. His childhood night
mares and adult forebodings, as well as his spontaneous outbursts,
whether romantic, revolutionary, or both, constitute a pattern, a
pattern of life and personality, of work and opinions, issuing in
his achievements and reputation as a critic and essayist.
Enzensbergers very concept of art and literature and their func
tion is reflected in this pattern of steady development and restless
change. Since his first publications in the mid-fifties, he has ex
panded his horizons, but he also became absorbed in nearly insol
uble problems he has proceeded from local and national to global
and international and therefore ever graver concerns. His earliest
collection of essays, Einzelheiten [Odds and Ends; Details], first
published in 1962, was soon after brought out as a two-volume
paperback comprising Bewusstseins-lndustrie (The Consciousness
Industry) and Poesie und Politik (Poetry and Politics). The collec
tion featured an acid polemic against the Frankfurter Allgemeine
Zeitung, the foremost West German newspaper, and an unmask
ing of Der Spiegel, West Germanys equivalent of Time Magazine,
and its jargon. On the other hand, his last such collection to date,
Palaver: Politische Uberlegungen [Palaver: Political Considera
tions], which appeared in 1974, contained a broad and strongly
self-critical satire on the leftist intelligentsia of all countries and
their cherished tourism of the revolution. It analyzes their trav
eling and fellow-traveling to socialist paradises and tellingly cul
minates with the penetrating Critique of Political Ecology, which
is scarcely Marxist in any orthodox sense, but is certainly Marx
ian. The two earlier collections of 1964 and 1967 reveal in their
choice of titles, Politik und Verbrechen (Politics and Crime) and
Deutschland, Deutschland unter anderm [Germany, Germany
Among Other Things], that duality of centrifugal expansion and
centripetal absorption, entanglement though never total engulfment, which distinguishes Enzensbergers manifold and seismographic oeuvre. As controversies are unavoidable, so are contra
dictions. Enzensbergers widening gyre reveals itself as a deepening
vortex as well.
Yet precisely this complexity makes him exemplary for our pres
ent age; it elevates his writings with their unceasing dialectic of
past and future, closeness and distance, commitment and resigna
tion, hope and despair, even utopia and apocalypse to an out
Introduction xv
standing contribution to world literature and modern life. His es
says can perhaps be best summed up by drawing on their authors
own binary formula: they treat, basically, either poetic or po
litical issues, just as his creative work at large consists, for the
most part, of either poetry or critical prose. The texts assembled
here represent the scope and topicality of Enzensbergers approach
to questions of art, literature, culture, to history, sociology, ecol
ogy. His volumes of poetry can only be listed: they are Verteidigung der Wolfe [In Defense of the Wolves], 1957; Landessprache
[Vernacular], 1960; Blindenschrift [Braille], 1964; and Die Furie
des Verschwindens [The Fury of Disappearance], 1980; also a 1971
selection from the first three volumes entitled Gedichte 19551970
[Poems 19551970], as well as a bilingual anthology Poems for
People Who D ont Read Poems, 1968.
Enzensberger is also a sovereign and versatile translator. Envi
ably gifted in languages and exceptionally well read, he is both a
polyglot writer and a poeta doctus. By 1970 he had completed
and published, as separate works or whole books, translations from
the French, English, Italian, Spanish, Swedish, and Russian; he had
also translated and edited a volume of selected poems by William
Carlos Williams, the American poet whose work had been an im
portant influence on him. There exist as well virtually dozens of
prefaces, commentaries, and the like, all of which appeared during
the same relatively short span of time. W ith equal fervor and skill,
he combats both poetic provincialism and political illiteracy, as
amply illustrated by his famous anthology Museum der modernen
Poesie [A Museum o f Modern Poetry], 1960, on the one hand,
and by his provocative collection Freispriiche: Revolutionare vor
Gericht [Acquittals: Revolutionaries on Trial], 1970, on the other.
Poetry and politics, to be sure.
For the structure and style of his essays, however, a convenient
formula is harder to find. But is not the essay, as indicated by its
very name, the experimental and, as a consequence, open and elu
sive genre par excellence? The reference book 1 consulted does not
list even one German title or author under the heading Essay.
Do not Lessing and Schlegel deserve mention, not to speak of
Goethe, Schiller, Heine, Nietzsche? And what about such widely
divergent modern classics as Thomas Mann, Gottfried Benn, and
Bertolt Brecht? What about Brechts friend Walter Benjamin and,
xvi Introduction
in his train, Adorno? The German tradition offers a wealth, not
only of genuine essays worth reading, but also of pertinent in
sights well worth pondering. For example, Schlegels aphorism has
it that it is as detrimental to a writer to have a solid system as to
have no system at all; he must sustain a dialectical unity, if not
balance, of contradictions. This definition illuminates both the
content and structure of Enzensbergers work in the genre as well
as that of many other writers.
It is to be hoped that the essays of Hans Magnus Enzensberger
will succeed in redressing the general state of neglect and igno
rance of German achievements in the essay form from the time of
Lessing and Schlegel. These essays preserve and enliven a rich tra
dition. In form and essence, and for all the tentativeness and sub
jectivity peculiar to their kind, they partake of much of Lessings
humanistic verve and straightforwardness, much of Schlegels lit
erary urbanity and wit to mention again two of Enzensbergers
earliest ancestors. Steadfastly, Enzensberger continues to take up
and face, more than any other essayist I know of, the burning
issues of our time.
Part One
LITERATURE
AND
THE MEDIA
The Industrialization
of the Mind
ll of us, no matter how irresolute we are, like to think that
we reign supreme in our own consciousness, that we are
masters of what our minds accept or reject. Since the Soul is not
much mentioned any more, except by priests, poets, and pop mu
sicians, the last refuge a man can take from the catastrophic world
at large seems to be his own mind. Where else can he expect to
withstand the daily siege, if not within himself? Even under the
conditions of totalitarian rule, where no one can fancy anymore
that his home is his castle, the mind of the individual is considered
a kind of last citadel and hotly defended, though this imaginary
fortress may have been long since taken over by an ingenious
enemy.1
No illusion is more stubbornly upheld than the sovereignty of
the mind. It is a good example of the impact of philosophy on
people who ignore it; for the idea that men can make up their
minds individually and by themselves is essentially derived from
the tenets of bourgeois philosophy: secondhand Descartes, run
down Husserl, armchair idealism; and all it amounts to is a sort
of metaphysical do-it-yourself.
We might do worse, I think, than dust off the admirably laconic
statement that one of our classics made more than a century ago:
What is going on in our minds has always been, and will always
be, a product of society. 2 This is a comparatively recent insight.
will eventually, by its own logic, do away with the very results it
has today. For this is the most fundamental of all its contradic
tions: in order to obtain consent, you have to grant a choice, no
matter how marginal and deceptive; in order to harness the facul
ties of the human mind, you have to develop them, no matter how
narrowly and how deformed. It may be a measure of the over
whelming power of the mind industry that none of us can escape
its influence. Whether we like it or not, it enlists our participation
in the system as a whole. But this participation may very well veer,
one day, from the passive to the active and turn out to threaten
the very order it was supposed to uphold. The mind industry has
a dynamic of its own that it cannot arrest, and it is not by chance
but by necessity that in this movement there are currents that run
contrary to its present mission of stabilizing the status quo. A cor
ollary of its dialectical progress is that the mind industry, however
closely supervised in its individual operations, is never completely
controllable as a whole. There are always leaks in it, cracks in the
armor; no administration will ever trust it all the way.5
In order to exploit peoples intellectual, moral, and political
faculties, you have got to develop them first. This is, as we have
seen, the basic dilemma faced by todays media. When we turn
our attention from the industrys consumers to its producers, the
intellectuals, we find this dilemma aggravated and intensified. In
terms of power, of course, there can be no question as to who
runs the business. Certainly it is not the intellectuals who control
the industrial establishment, but the establishment that controls
them. There is precious little chance for the people who are pro
ductive to take over their means of production: this is just what
the present structure is designed to prevent. However, even under
present circumstances, the relationship is not without a certain
ambiguity, since there is no way of running the mind industry
without enlisting the services of at least a minority of men who
can create somthing. To exclude them would be self-defeating. O f
course, it is perfectly possible to use the whole stock of accumu
lated original work and have it adapted, diluted, and processed
for media use; and it may be well to remember that much of what
purports to be new is in fact derivative. If we examine the har
monic and melodic structure of any popular song, it will most
likely turn out to employ inventions of serious composers of cen
2
Poetry and Politics
he state decides what poets may or may not write that is a
nightmare as old as the Occident. Decency and good behav
ior must be observed. The gods are always good. Statesmen and
officials may not be disparaged in public. Praise be to heroes, no
matter what. The crimes of our rulers are not fit subjects for po
etry but for committee meetings behind closed doors. Protect our
youth! Therefore, there must be no portrayal of unbridled passion
unless it is authorized by the state. Irony is forbidden. There must
be no effeminacy. Poets, being born liars, are to be assigned to the
public-relations detail. The control commission not only assigns
topics; it also decrees what forms are admissible and what tone of
voice is desired. The demand is for harmony at all costs; this means
good language and good harmony and grace and good rhythm
in a word, affirmation. Nuisances will be exiled or eliminated, their
works banned, censored, and mutilated.
These familiar maxims, formulated in a small Balkan state more
than two thousand years ago, can be found at the root of all Eu
ropean discussion of poetry and politics.1 They have since spread
across the entire world. Dully, monotonously, brutally, they clang
through history with the terrible regularity of a steam hammer.
They do not question what poetry is, but treat it simply as an
instrument to influence those held in subjugation, as something to
be used at will in the interests of authority. Hence the tenacious
life of these maxims, for they are tools of power the selfsame
15
The poet makes use in various ways of the aids and artifices
that the rhetoric of the eulogy of the ruler has at hand: he names
marble and laurel as the insignia of fame, he does not shun the
obligatory mythological comparison (in this case with Antaeus),
and he proclaims the prince, whom he addresses as a Messiah on
whose appearance depends the salvation, not of a few petty Eu
ropean states, but of the whole world itself. To all appearances
Kleist incorporates yet another figure of speech in the poem: ov
erlordship, like poetry, owes its existence to inspiration; both have
the same origin, namely God's grace. But the God Kleist refers to
has nothing in common with the ancient gods. He is not named,
but he is none other than the God of history. The ruler no longer
appears in person at all; not one of the verses alludes to his ances
tors, his life, or his personality. Who Franz I is, the poet neither
knows nor cares. The ruler is no longer Caesar, whose secret re
sides in his person; he is simply the viceroy of history, the execu
tor of the Zeitgeist. When he goes, wirds ein anderer vollenden
(another will take your place), no matter what his name or his
dynasty. Kleists poem is a finale; it both consummates and de
stroys the eulogy of the ruler. Twenty-five years later Georg Buch
ner wrote in Der Hessische Landbote, The Prince is the head of
the leech that crawls over you.
This is the end of the eulogy of the ruler in German literature.
The remainder of the genre, which is considerable, is either farci
cal or obnoxious. The countless numbers who have tried to con
tinue it during the last 150 years have done so at the expense of
their authorship. Since Kleist, every poem written in homage to
those in power has backfired and exposed its author to derision
These lines are not quoted for the disgust they are likely to arouse;
for our purposes, even the author, a man named Becher, is irrele
In the second place, Bechers lines obey, and in no less zealous and
absurdly precise a way, the old rhetorical precepts for the pane
gyric poem; the cliches of which it consists have one and all been
played out in the course of two thousand years usage: the olive
branch, the dove, eternal life, die Volker alle. An enhancement
of the virtues of the person to be extolled is achieved (and has
been since the early Middle Ages) by announcing that everyone
joins in the admiration, joy, grief. . . . One is tempted to assert
that all peoples, lands, and epochs sing X s praise. The formula
the whole world praises him became established usage. The
Carolingian poets often applied it to Karl.10 The copybook care
with which Becher, presumably unawares, has transcribed thirdrate hagiographers and grammarians of the Latin middle ages is
bewildering. But it cannot explain the scandal that Bechers work
even exists. This scandal has nothing to do with craftsmanship;
the text cannot be saved by any trick or artifice, by eliminating
the stupid comparisons and falsely inflated metaphors, for in
stance, or by syntactical assistance. It is not the blunders that are
offensive; what offends us is the actual existence of these lines.
Why? This is a question that must be thoroughly gone into,
because it is fundamental. Moreover, it is a question that hitherto
has never been seriously asked or answered, probably because no
3
Commonplaces on
the Newest Literature
Josephine asserts herself, a mere nothing in voice, a mere
nothing in execution, she asserts herself and gets across to us;
it does us good to think of that. A really trained singer, if
ever such a one should be found among us, we could cer
tainly not endure at such a time and we should unanimously
turn away from the senselessness of any such performance.
May Josephine be spared from perceiving that the mere fact
of our listening to her is proof that she is not a singer. . . .
Josephines road, however, must go downhill. The time will
soon come when her last squeak sounds and dies into silence.
She is a small episode in the eternal history of our people,
and the people will get over the loss of her.
Franz Kafka, Josephine the Singer ,
o r the Mouse Folk.
1.
Pompes funebres. So now we can hear it tolling again, the
little death knell for literature. They are carefully binding tiny tin
wreaths for it. We are snowed under by invitations to the burial.
The funeral banquets, so we hear, are exceedingly well attended:
they are a hit at the book fair. The mourners dont appear overly
downcast. Rather, a manic exuberance seems to be taking hold, a
slightly heady fury. The few oddballs off in the corner dont seri
ously disturb the festivities. They are making their trip on their
own, perhaps with a little tea in their pipe.
The funeral procession leaves behind a dust cloud of theories,
35
2.
6.
Not responsible for personal property. I summarize: a rev
olutionary literature does not exist unless it be in a completely
vapid sense of the word. There are objective reasons for this that
writers are in no position to alter. Literary works cannot be ac
corded an essential social function under present conditions. From
this follows that one also cannot find usable criteria for judging
them. Hence, a literary criticism that could more than belch forth
its personal preferences and regulate the market is not possible.
These findings appear lapidary. Therefore, one should not for
get that one cannot base a wholesale judgment of contemporary
literature on them. The statement that one cannot attribute a co
gent social function to literature, regarded logically, makes no new
certainties available to us. It denies that there are such certainties.
And if that is indeed the case, it points to a risk that from now on
is part of the composing of poems, stories, and dramas: the risk
that such works are useless and futile, regardless of their artistic
success or failure. Whoever makes literature as art isnt discredited
by this; but he cannot feel justified either.
If I am right, if no verdict is possible on writing, all the revolu
tionary haranguing, which looks for relief from its own impotence
in the liquidation of literature, wont accomplish anything either.
A political movement that, instead of attacking the power of the
state, tangles with aging belletrists would only manifest its own
cowardice in this manner. If we have a literature that exists merely
on the basis of a wild guess, if basically there is no making out
whether writing still contains an element, if only the slightest, of
the future, that is, if irrelevance constitutes the social essence of
this kind of work, then a cultural revolution can neither be made
with nor against it. Instead of shouting Hands up! to the produc
4
Constituents of a
Theory of the Media
If you should think this is Utopian, then I would ask you
to consider why it is Utopian.
Brecht, Theory o f Radio
1.
The general contradiction between productive forces and
productive relationships emerges most sharply, however, when they
46
For the first time in history, the media are making possible mass
participation in a social and socialized productive process, the
practical means of which are in the hands of the masses them
selves. Such a use of them would bring the communications me
dia, which up to now have not deserved the name, into their own.
In its present form, equipment like television or film does not serve
communication but prevents it. It allows no reciprocal action be
tween transmitter and receiver; technically speaking, it reduces
feedback to the lowest point compatible with the system.
This state of affairs, however, cannot be justified technically.
On the contrary. Electronic techniques recognize no contradiction
in principle between transmitter and receiver. Every transistor ra
dio is, by the nature of its construction, at the same time a poten
tial transmitter; it can interact with other receivers by circuit re
versal. The development from a mere distribution medium to a
communications medium is technically not a problem. It is con
sciously prevented for understandable political reasons. The tech
nical distinction between receivers and transmitters reflects the so
cial division of labor into producers and consumers, which in the
consciousness industry becomes of particular political importance.
It is based, in the last analysis, on the basic contradiction between
the ruling class and the ruled class that is to say, between mo
nopoly capital or monopolistic bureaucracy on the one hand and
the dependent masses on the other.
This structural analogy can be worked out in detail. To the
programs offered by the broadcasting cartels there corre
spond the politics offered by a power cartel consisting of par
ties constituted along authoritarian lines. In both cases mar
ginal differences in their platforms reflect a competitive
relationship that, on essential questions, is nonexistent. M in
imal independent activity on the part of the voter/viewer is
The obverse of this fear of contact with the media is the fasci
nation they exert on left-wing movements in the great cities. On
the one hand, the comrades take refuge in outdated forms of com
munication and esoteric arts and crafts instead of occupying them
selves with the contradiction between the present constitution of
the media and their revolutionary potential; on the other hand,
they cannot escape from the consciousness industrys program or
from its esthetic. This leads, subjectively, to a split between a pu
ritanical view of political action and the area of private leisure ;
objectively, it leads to a split between politically active groups and
subcultural groups.
In Western Europe the socialist movement mainly addresses it
self to a public of converts through newspapers and journals that
are exclusive in terms of language, content, and form. These news
sheets presuppose a structure of party members and sympathizers
and a situation, where the media are concerned, that roughly cor
responds to the historical situation in 1900; they are obviously
fixated on the Iskra model. Presumably, the people who produce
them listen to the Rolling Stones, watch occupations and strikes
on television, and go to the cinema to see a Western or a Godard
movie; only in their capacity as producers do they make an excep
tion, and, in their analyses, the whole media sector is reduced to
9.
One immediate consequence of the structural nature of the
new media is that none of the regimes at present in power can
release their potential. Only a free socialist society will be able to
make them fully productive. A further characteristic of the most
advanced media probably the decisive one confirms this thesis:
their collective structure.
For the prospect that in the future, with the aid of the media,
anyone can become a producer, would remain apolitical and lim
ited were this productive effort to find an outlet in individual tink
ering. Work on the media is possible for an individual only insofar
as it remains socially and therefore esthetically irrelevant. The col
lection of transparencies from the last holiday trip provides a model
of this.
That is naturally what the prevailing market mechanisms have
aimed at. It has long been clear from apparatus like miniature and
8-mm. movie cameras, as well as the tape recorder, which are in
actual fact already in the hands of the masses, that the individual,
so long as he remains isolated, can become with their help at best
an amateur but not a producer. Even so potent a means of pro
duction as the shortwave transmitter has been tamed in this way
and reduced to a harmless and inconsequential hobby in the hands
of scattered radio hams. The programs that the isolated amateur
mounts are always only bad, outdated copies of what he in any
case receives.
Private production for the media is no more than licensed
cottage industry. Even when it is made public it remains pure
compromise. To this end, the men who own the media have
developed special programs that are usually called Demo
cratic Forum or something of the kind. There, tucked away
in the corner, the reader (listener, viewer) has his say, which
can naturally be cut short at any time. As in the case of public-opinion polling, he is only asked questions so that he may
Decentralized program
Each receiver a potential
transmitter
Mobilization of the masses
Immobilization of isolated
individuals
Passive consumer behavior
Depoliticization
Production by specialists
Control by property owners or
bureaucracy
The trends that Benjamin recognized in his day in the film, and
the true import of which he grasped theoretically, have become
patent today with the rapid development of the consciousness in
dustry. What used to be called art has now, in the strict Hegelian
sense, been dialectically surpassed by and in the media. The quar
rel about the end of art is otiose so long as this end is not under
stood dialectically. Artistic productivity reveals itself to be the ex
treme marginal case of a much more widespread productivity, and
it is socially important only insofar as it surrenders all pretensions
to autonomy and recognizes itself to be a marginal case. Wherever
the professional producers make a virtue out of the necessity of
their specialist skills and even derive a privileged status from them,
their experience and knowledge have become useless. This means
that as far as an esthetic theory is concerned, a radical change in
perspectives is needed. Instead of looking at the productions of
the new media from the point of view of the older modes of pro
duction we must, on the contrary, analyze the products of the
traditional artistic media from the standpoint of modern con
ditions of production.
Earlier much futile thought had been devoted to the question
of whether photography is an art. The primary question
18.
The ineffectiveness of literary criticism when faced with
so-called documentary literature is an indication of how far the
critics thinking has lagged behind the stage of the productive
forces. It stems from the fact that the media have eliminated one
of the most fundamental categories of esthetics up to now fic
tion. The fiction/nonfiction argument has been laid to rest just as
was the nineteenth centurys favorite dialectic of art and life.
In his day, Benjamin demonstrated that the apparatus* (the con
cept of the medium was not yet available to him) abolishes au
thenticity. In the productions of the consciousness industry, the
difference between the genuine original and the reproduction
disappears that aspect of reality which is not dependent on the
apparatus has now become its most artificial aspect. The process
of reproduction reacts on the object reproduced and alters it fun
damentally. The effects of this have not yet been adequately ex
plained epistemologically. The categorical uncertainties to which
it gives rise also affect the concept of the documentary. Strictly
speaking, it has shrunk to its legal dimensions. A document is
Part Two
POLITICS
AND
HISTORY
1
Toward a Theory
of Treason
Our laws are not widely known. They are the secret of the
small group of nobles that rules us. . . . It is a tradition that
the laws exist and are entrusted to the nobility as a secret,
but it is no more and cannot be more than an ancient tradi
tion which has become credible through its very age, for the
character of these laws also requires that their content be kept
secret.
Franz Kafka,
On the Question o f the L aw
7.
The ruler taboo and its double meaning. The archaic and
irrational kernel of treason is a magic prohibition whose source
has to be sought beyond all written laws in the ruler taboo. The
violation of this taboo finds very clear expression in the Roman
word for treason: laesa.3
Taboo is, as we know, a prohibition against touching. The per
son to whom it is attached may not be touched and is therefore
protected against all aggression. The actual accomplishment of the
taboo, however, lies in its double meaning. The ruler taboo not
only protects the ruler from the ruled, but also the ruled from the
ruler. He must not only be guarded, he must also be guarded
against. 4 This twin purpose is achieved by means of a highly
complicated system of rules. What is admirable in these limita
tions is their complete symmetry and mutuality.
This taboo constitutes the prerequisite of the possibility of rul
ing per se, which is proved by the extreme sanctions that go with
it. They alone guarantee the security of the ruler, as well as of his
subjects, and neutralize the deadly threat in their fear of each other.
The rulers mana, a magic charge that is the raison detre for
the taboo and supposedly makes touching dangerous, is to be re
garded as the actual substance of his power. This mana, like an
electric potential, allows of gradations and therefore of interme
diaries between the ruler and the ruled. Thus a subchief or lesser
adviser with lesser mana can touch the ruler without danger to
himself and can himself afford to be touched by underlings. This
conception allows the creation of hierarchies. One characteristic
of a taboo is its transferability: it is, so to speak, infectious. What
the ruler has touched becomes itself taboo. What counts is the
principle of contiguity, something that, in any case, is a primary
trait of magical thought. Freud has pointed out its close resem
blance to association. This has remained the determining principle
14.
The state secret. The prohibition against delivering secrets
to a foreign power is not part of the old core of the law against
treason. This very aspect, which stands official propaganda in such
useful stead, is completely peripheral and is based on a much later
extension of the concept of treason. It plays no role in the older
laws. In Anglo-Saxon law the betrayal of state secrets isnt called
treason at all; the crime does not fall under the Treason Act but
under the Official Secrets Act of 1889. State secret and espionage,
as legal concepts, are inventions of the late nineteenth century.
They were born out of the spirit of imperialism. Their victorious
march begins in 1894 with the Dreyfus affair.
Since that time the state secret has been raised to an instrument
for ruling of the first rank. Its productivity is nearly unlimited. Its
success and its arbitrariness derive from the fact that the magic
conceptions that have always been part and parcel of the treason
2
Reflections
before a Glass Cage
1.
Definitions. We know what a crime is, and yet we dont. The
Encyclopedia Britannica defines it in the following way:
(lat. crimen, accusation), the general term for offences against
the criminal law (q.v.). Crime has been defined as a failure
or refusal to live up to the standard of conduct deemed bind
ing by the rest of the community. Sir James Stephen de
scribed it as some act of omission in respect of which legal
punishment may be inflicted on the person who is in default
whether by acting or omitting to act. 1
This description is met with the facile objection that one cant
speak of a crime where there is no law; but such a consideration
is legalistic, not philosophical, and misses the point. Such a pseudo
objection resembles the question: Which came first, the chicken
or the egg? Law can only be defined by injustice, at its limit, to
be recognized as law; the ethical limitations can only be taught
as a reply to a challenge. And in that sense the original crime is
undoubtedly a creative act. (Walter Benjamin treats its legislative
power in Zur Kritik der Geivalt.)
This hypothesis, which Freud established in his essay The In
fantile Return to Totemism, is both famous and unknown and
for a good reason. Freud had few illusions about the resistance
that would meet his attempt to trace back our cultural heritage,
of which we are justly proud, to a horrible crime that is an insult
SHORTLY
A C T IO N S
A G A IN ST
S Y N A G O G U E S , W IL L
A G A IN ST
OCCUR
JE W S ,
IN
P A R T IC U L A R L Y
ALL OF
GERM ANY.
THESE A C T IO N S A RE N O T T O BE IN T E R F E R E D W IT H .
. . .
3.
20
TO
30
THOUSAND
JE W S
IN
THE
R E IC H .
P A R T IC U L A R L Y
W E A LT H Y JE W S A RE T O BE SELECT ED. F U R T H E R IN S T R U C T IO N S
W IL L F O L L O W T H IS N IG H T .
. . .
GESTAPO I I . S IG N E D : M U L L E R 11
7000
1.
O F THE
56,065
JE W S S E IZ E D SO FA R, R O U G H L Y
H A V E BEEN D E S T R O Y E D IN W A KE O F T H E A C T IO N IN THE
F O R M E R J E W IS H Q U A R T E R .
6929
JE W S W E R E D E S T R O Y E D BY
13,929
JE W S H AV E BEEN D E S T R O Y E D . A B O V E A N D B E Y O N D T H E F IG
URE O F
56,065,
R O U G H L Y FIV E T O SIX T H O U S A N D JE W S W E RE
D E S T R O Y E D T H R O U G H D E T O N A T IO N A N D F IR E .
. . .
THE SS A N D P O L IC E C H IE F IN T H E W A R S A W D IS T R IC T . S IG N E D :
S T R O O P .12
E C O N O M IC R E C U P E R A T IO N
2,000,000
5,000,000
10,000,000
20,000,000
40,000,000
80,000,000
160,000,000
1 year
2 years
5 years
10 years
20 years
50 years
100 years
10.
Artificial figure. The criminal in the traditional sense of the
word, as one still finds him at court trials, belongs to the myth
ological substratum of the present age. He has long since assumed
the traits of an artistic creation, for he claims a place in our imag
ination incommensurable with his real significance, his deeds, and
the actuality of his existence. It remains extraordinary and puz
zling how much passionate interest we bring to bear on him and
what an enormous apparatus we keep up to fight him off. He
enjoys an irrational publicity. It can be gleaned from our headlines
that a simple murder interests us more than a war that is taking
place far enough away and much more than a war that hasnt
started yet but is just being prepared. One is tempted to think the
reason for this zealousness has something to do with the tenacity
of our legal institutions. Undoubtedly, justice holds on more te
naciously than any other social institution not excepting
churches to old ideas and forms, even when they no longer cor
respond to anything in reality (the worse for reality). Even the
newest reasons for the so-called reform of the penal code reflect
the cultural lag that dominates the whole legal sphere. The lan
guage of our law books is rife with turns of phrase so old-fash
ioned it requires recourse to philosophy to understand them. Breach
of peace, ringleader, workhouse, torts, armed rabble, and the like
are linguistic fossils that preserve historical conditions long since
passed. In a certain sense it is almost admirable how the legal code
has maintained itself unchanged in an alien world.
The role of the criminal in our world, however, is not to be
explained solely by means of institutions. Taking a closer look,
one finds that an entire system of roles that makes him indispens
able and raises him to the rank of a mythological figure has been
entrusted to him.
14.
Competition. The criminal is not only the deputy for the
individual, but for society as a whole, which he confronts by as
suming its prerogatives: that is, he regards himself, in the words
of Paule Ackermann, the lumberjack from Alaska, as a man who
has permission to permit himself everything. With this claim he
puts himself in the same position as, and consequently against, the
state, and becomes its competitor; he questions the states monop
oly on violence. This is an old role, too. The robbers and pirates
of times past have given the purest performances of it, and every
rebel assumes their features, if not of his own accord then by de
fault; they are attributed to him by the world either through its
disgust or admiration.18
Although the states superior power vis-a-vis the criminal is never
in doubt, although the criminals means of exercising force stands
in no relationship whatsoever to the states capacity, the latter
considers itself directly threatened by the individuals or the gangs
actions. The state loves to claim that its foundations are endan
gered. And it does not take a holdup murder to shake them
the simple picking of a pocket or the writing of an article can be
quite sufficient. However, what seems to irritate modern legisla- '
tors more than anything else is resistance to the power of the
state. Wherever this crime is mentioned, the text gladly abandons
its anachronistic equanimity. Foam begins to form at the guardi
ans mouths, harmless hubbub becomes a dangerous mob, the
passerby, a criminal. The fury with which his crime is punished
111
16.
Phraseology. The delinquent in our world therefore cuts a
comparatively harmless, almost sympathetic and humane figure.
His motives are comprehensible. As a victim and accomplice of
the now-illusory moral division of labor, he is fitted out by society
in a mythological costume. The gangster has been unable to fol
low the inexorable progress of society; the technological develop
ment liquidated his artisans methods of liquidation and replaced
them by industrial methods. Even figures like Trujillo and many
benefactors of his kind, who are still holding power in dozens
of countries, testify no matter how actual their rule to the his
torical lag of the countries they govern rather than to the future
of their metier. The old-time gangster, as well as the criminal trai
tor, is superannuated.
This explains the semantic difficulties one encounters as soon as
one tries to apply traditional legal concepts to the misdeeds of the
middle of the twentieth century. Instigator, culprit, aiding and
abetting, accomplice, accessory to the crime useful terms all when
used to describe a robbery have become vague and senseless. As
it says in the Jerusalem verdict:
With a huge and complicated crime of the kind with which
we are dealing here, a crime in which many people partici
pated on many different levels and through different acts as
3
Las Casas,
or A Look Back
into the Future
I
he Indies [that is: the West Indian Islands and the coasts of
Central and South America] were discovered in the year one
thousand four hundred and ninety-two. In the following year a
great many Spaniards went there with the intention of settling the
land. Thus, forty-nine years have passed since the first settlers pen
etrated the land, the first so-claimed being the large and most happy
isle called Flispaniola, which is six hundred leagues in circumfer
ence. Around it in all directions are many other islands, some very
big, others very small, and all of them were, as we saw with our
own eyes, densely populated with native peoples called Indians.
This large island was perhaps the most densely populated place in
the world. . . . And all the land so far discovered is a beehive of
people; it is as though God had crowded into these lands the great
majority of mankind.
And of all the infinite universe of humanity, these people are
the most guileless, the most devoid of wickedness and duplicity,
the most obedient and faithful to their native masters and to the
Spanish Christians whom they serve. They are by nature the most
humble, patient, and peaceable, holding no grudges, free from em
broilments, neither excitable nor quarrelsome. These people are
116
II
Whether what this book says is true, whether its author should
be believed this question has produced a quarrel that has been
Only the unparalleled success that the Brief Account has had makes
these tenacious and furious polemics comprehensible. Las Casas
wrote a great deal: large-scale chronicles, theological and legal dis
121
America that does not sing the official song of praise: as though
what disparages the honor of Spain had been seized, willy-nilly,
out of the blue.
This whole polemic is antiquated and superfluous. Spains honor
does not interest us. The French enlightener Jean Francois Marmontel, in his work on the destruction of the Inca empire, refer
ring to Las Casas, already stated in 1777 what there is to be said
on this subject: All nations have their robbers and fanatics, their
times of barbarousness, their attacks of rabies. The question of
national character is not on the agenda. The extermination of the
European Jews by the Germans, the Stalinist purges, the destruc
tion of Dresden and Nagasaki, the French terror in Algeria, the
Americans in Southeast Asia have demonstrated even to the most
obtuse that all peoples are capable of everything; and as the Brief
Account of the Devastation of the Indies is published once more,
in a new English translation, the last of the Indians in Brazil are
being inexorably exterminated.
The historians of the nineteenth century tried tenaciously, at
times desperately, to invalidate Las Casas, and not only out of
chauvinism or cowardice, but because the events he describes would
have destroyed their historical picture. They believed in the mis
sion of Christianity or in the values of European civilization,
and what transpired during their own time in the Congo, in In
donesia, in India and China they would have considered as impos
sible as the genocide Las Casas described.
We have no such doubts. The news we receive on TV each day
would suffice to disabuse us of them. The actuality of the book is
monstrous, has a penetratingly contemporaneous smell to it. O f
course our way of reading it is not devoid of an element of decep
tion. Every historical analogy is ambiguous: for whoever rejects
this analogy, history becomes a pile of meaningless facts; for
whoever accepts it at face value, leveling the specific differences, it
becomes aimless repetition, and he draws the false conclusion that
it has always been this way and the tacit consequence that, there
fore, it will always remain so too. No, Las Casas was not our
contemporary. His report treats colonialism in its earliest stage;
that is, the stage of robbery pure and simple, of unconcealed plun
dering. The complicated system of exploitation of international
raw materials was as yet unknown at his time. Trade relations did
That is not a hearsay report; only someone who has seen the
burnished hair and the encrusted shoulders with his own eyes
speaks like that. This description by Las Casas led, incidentally,
to a royal prohibition of pearl fishing one of the few, albeit short
lived, victories that fell the valiant bishops way.
Another enterprise that Las Casas deals with could only develop
The sentence that not the murderer but the victim is guilty be
comes the dominant maxim under colonial rule. The native is
the potential criminal per se who must be held in check, a traitor
who threatens the order of the state: Those who did not rush
forth at once, Las Casas says, to entrust themselves into the
hands of such ruthless, gruesome and beastial men were called
rebels and insurgents who wanted to escape the service of His
Majesty.
But this guilty verdict is the very thing that helps the colonized
to perceive their situation. For it leads to its own fulfillment: fic
tion becomes reality, the raped resort to violence. Las Casas de, scribes several instances where it came to armed actions of resis1 tance, even to small guerrilla wars. He calls the Indian attacks,
where a considerable number of Christians lost their lives, a
just and holy war whose justifiable causes will be acknowl
edged by every man who loves justice and reason. Without hesi
tating, in three sweeping sentences that have been left unscarred
by the centuries, Las Casas thinks his thoughts to their conclusion:
And those wretches, those Spaniards, blinded by greed, think
they have the God-given right to perpetrate all these cruelties
and cannot see that the Indians have cause, have abundant
causes, to attack them and by force of arms if they had weap
ons, to throw them out of their lands, this under all the laws,
natural, human, and divine. And they cannot see the injustice
of their acts, the iniquity of the injuries and inexpiable sins
they have committed against the Indians, and they renew their
wars, thinking and saying that the victories they have had
against the Indians, laying waste the lands, have all been ap
proved by God and they praise Him , like the thieves of whom
the prophet Zechariah speaks: Feed the flock of the slaugh
ter; whose possessors slay them, and hold themselves not
guilty: and they that sell them say, Blessed be the Lord; for I
am rich.
in
Don Bartolome de Las Casas was born in 1474 as the son of an
aristocrat. The family came from the Limousin region and achieved
respected and prosperous status in Andalusia. In 1492, when Co
lumbus was venturing on his first trip to the West, Las Casas was
taking up theological and legal studies at the University of Sala
manca. His father, Don Francisco, was one of the tirst Europeans
to see the new continent. The name Las Casas appears in the reg
ister of the Santa Maria. But we have little information about the
fathers activities. Not even his arrival in America is certain; some
historians even claim that he only took part in Columbus second
journey. In any event, Don Francisco had already returned to Se
ville in 1497. He left no permanent traces in the history of the
Conquista. His son must have followed him in the last years of
the fifteenth century. His presence in Hispaniola is confirmed as
of 1502. In 1511 he was elected to the priesthood in Santo Do
mingo. Evidently Don Bartolome began to take interest in the Indian
culture almost at once. There is testimony that he was a muchsought-after interpreter. During his life he learned more than a
dozen Indian dialects. Besides, for fifteen years he behaved no dif
ferently than the other colonizers. He made the acquaintance of
the leading people of the Conquista: Cortez, Pizarro, Alvarado,
Pedrarias, and Columbus the Younger. In 1512 he went with Diego
Velasquez and Panfilo de Narvaez to Cuba. The intention of this
expedition was to pacify, that is to subjugate, the island com
pletely. As Las Casas himself reports in his History of the Indies,
Such sentences acquit the King of all complicity; but they are
that much more dangerous for his representatives. Their ambigu
ity appears as soon as Las Casas turns to the question of how the
booty is to be divided.
Our King and Master has been deceived by certain highly
pernicious and deceitful machinations; just as there have been
continual efforts to hide the truth from Him that the Span
iards in the Indies are transgressing in the most terrible man
ner against God and M an and against His Majestys royal
honor.
Las Casas had found the support of the King. But the King
was remote. The laws got stuck. Little changed in the practice of
American colonialization. In 1523 Don Bartolome entered a Do
minican monastery in Hispaniola where he remained for nearly
ten years. During this time he laid the theoretical foundation for
his future actions. His major scholarly works were begun and con
ceived at that time: first the Apologetic Fiistory of the Indies, then
the source book, the Historia general de las Indias. Though they
may find some fault with Las Casass methods, these works are
invaluable for the modern historian of the Conquista. Their au
thor was gifted with the instinct and sagacity of the true historian.
He systematically collected manuscripts, letters, and official docu
ments that referred to the conquest of America. The world is in
debted to him, for example, for the knowledge of Columbuss ships
diaries a transcript in his archives preserved them. However, Las
Casas did not confine himself to the role of a chronicler. His un
derstanding of the Indian cultures helped him to gain anthropo
logical insights that were completely alien to his contemporaries.
He supported the opinion that the American cultures could not be
measured by European standards, one should understand them out
of their own prerequisites. He was probably the first to compare
the Mayan temples in Yucatan to the pyramids. He felt that the
Spanish had no reason whatsoever to feel superior to the Indians;
I he preferred them in many respects to his own countrymen. Such
insights announce, two hundred years before Vico, the dawning
of a historical consciousness. Las Casas understood human culture
as an evolutionary process and he understood that civilization is
not a singular but a plural: he discovered the discontemporaneity
of historical developments and the relativity of the European po
sition. With such a historical understanding he stands, as far as I
can tell, quite alone in the sixteenth century. To the governments
of the West, judging by their actions, such an understanding has
remained alien to this day.
in the Indian lands. This penitential sets forth the condition under
which a conquistador, a plantation or mine owner, a slave or
weapon dealer can receive absolution. Las Casas demanded as
} prerequisite a notarized protocol in which the penitent had to ob
ligate himself to complete indemnification in legally binding form.
Since such documents were usually drawn up at the deathbed, this
amounted to a creation of testaments in favor of the Indians. The
Aid determined down to the smallest detail how the dying per1 sons possessions were to be disposed of and how the inheritance
1 was to be legally handled. The effect of the text was sensational.
Las Casas had found a stronger ally than the King: the Spaniards
fear of hell. The advice he gave to the confessors meant that every
one who refused to fulfill the conditions would be excommuni
cated. O f course Las Casass penitential was effective in only a
few dioceses. After a few years the horror of the faithful subsided
and the penitential fell into disuse. Still, it earned its author a new
denunciation for high treason and insult to the crown; the peni
tential could have the effect, so the accusation claimed, of under
mining royal sovereignty in the West Indies. Once again Las Casas
had to follow a subpoena to Madrid. He left America in the sum
mer of 1547, never to return.
Las Casas was almost eighty years old. The proceeding against
him petered out. He had himself divested of his bishops office. In
the decade left in his life he continued his anthropological and
legal research and published the first edition of his works. Every
thing he thought and wrote focused on the problem of colonial
ism. He was to have one last great public appearance before the
political and academic world in 1550. This was the famous dis
putation of Valladolid. The man whom Las Casas confronted there
was the leading ideologist of the Conquista: Juan Gines de Sepul
veda. The conflict was conducted very sharply by both sides. There
exists a record of this conversation, whose florid title points to the
heart of the dispute: Disputation or controversy between the bishop
Fray Don Bartolome de Las Casas, formerly head pastor of the
' royal city of Chiapas, which lies in the Indies and belongs to New
i Spain; and Dr. Gines de Sepulveda, the court chronicler of our
imperial majesty; about whether, as the Doctor claims, the con
; quest of the Indian lands and the war against the Indians is justi
fied; or whether, as the Bishop counters and proclaims, the war is
Berlin Commonplaces
1.
Revenant. A ghost is haunting Europe: the ghost of the rev
olution. The returnee is greeted like its great predecessor: with
scorn and panic, skepticism and hysteria, and it also encounters
only in smaller doses pacification and suppression. The doomsayers are at work; the manslaughterers are waiting for their turn.
What is being mentioned is only a shadow now. The revolution
in Europe is not a material force. It gives a disembodied effect
because it lacks a strong class basis. Many consider it a fad, the
cause of the minority of a minority, that is the intellectuals. It is
true: the ruling class tn the metropolises has succeeded in melting
down the political consciousness of the majority, in liquidating it.
It is a sign of the suppression that rules our societies that political
awareness has become the privilege of a minority and that only
the minority of a minority makes use of this privilege.
But theres no shadow without a body, no ghost without a
corpse. The shadow of the revolution is the shadow of another,
greater one, of the hungering, plundered, and bomb-torn world.
Their dead are coming to haunt us. The revolution in Europe until
today is only the shadow of that revolution that Europe has tried
vainly to beat down. Today Europe leaves this work out of
weakness, not out of insight to the United States. Each victory
and each defeat in this struggle edge us a little deeper into the
shadow of the revolution. What is returning there, what disturbs
the peace and refuses to be turned away is the future inasmuch
as the word still has a meaning, in Europe.
12.
Not to be reproduced in any form. Is there such a thing as
; a revolutionary future for a technically highly developed industrial
society? History cannot answer this question. The proletarian rev
olutions of the Old World, their victories and defeats, belong to
the early phases of industrialization. They were carried out by an
impoverished working class, led by a tightly organized class party.
A centrally steered mass agitation, the formation of conspiratorial
cadres, and the classic military tactic of the barricade and the street
1 fight decided the outcome of the struggle. This model has not been
employed a single time in a fully developed industrial society. Ex
ceptions such as Czechoslovakia and East Germany dont count:
what was victorious there was a revolution imported by force,
stamped from a foreign model down to the last detail and depen1 dent on an early stage of industrialization. A scheme that brought
* The beginning of the student revolt in West Germany.
Part
Three
SOCIOLOGY
AND
ECOLOGY
1
Tourists of
the Revolution
&
M A X IM U M IN C O M E
U SU A L I N C O M E
Workers
Small employees
Domestics
125200 rubles
130-180 rubles
Middle-rank officials
and technicians, spe
cialists, and those in
very responsible po
sitions
300800 rubles
150010,000 rubles
and more; some, it is
indicated, receive be
tween
20,000 to
30,000 rubles per
month .10
The only traveler I know who has thought the problem of rad
ical tourism through to the end is the Swede Jan Myrdal. With a
conscientiousness that makes a veritably puritanical impression
2
A Critique of
Political Ecology
Ecology as Science
s a scientific discipline, ecology is almost exactly a hundred
years old. The concept emerged for the first time in 1868
when the German biologist Ernst Haeckel, in his Natural History
o f Creation, proposed giving this name to a subdiscipline of zool
ogy one that would investigate the totality of relationships be
tween an animal species and its inorganic and organic environ
ment. Compared with the present state of ecology, such a proposal
suggests a comparatively modest program. Yet none of the restric
tions contained in it proved to be tenable: neither the preference
given to animal species over plant species, nor to macro- as op
posed to micro-organisms. With the discovery of whole ecosys
tems, the perspective Haeckel had had in mind became untenable.
Instead, there emerged the concept of mutual dependence and of
a balance between all the inhabitants of an ecosystem, and in the
course of this development the range and complexity of the new
discipline have grown rapidly. Ecology became as controversial as
it is today only when it was decided to include a very particular
species of animal in its researches man. While this step brought
ecology unheard-of publicity, it also precipitated it into a crisis
about its validity and methodology, the end of which is not yet in
sight.
Human ecology is, first of all, a hybrid discipline. In it cate-
186
Environmental Apocalypse
as an Ideological Pawn
The concept of a critique of ideology is not clearly defined nor
is the object it studies. It is not only that false consciousness
proliferates in extraordinary and exotic luxuriance given the pres
ent conditions under which opinions arc manufactured, but it also
possesses the suppleness of a jellyfish and is capable of protean
feats of adaptability. So far we have examined the most widely
diffused components of environmental ideology chiefly with re
gard to the interests that they at once conceal and promote. This
would have to be distinguished from an evaluation in terms of an
ideological critique that sees the ecological debate as a symptom
that yields conclusions about the state of the society that produces
it. So that nothing may be omitted, interpretations of this kind
A Critique of the
Ecological Crash Program
In their appeals to a world whose imminent decline they pro
phesy, the spokesmen of human ecology have developed a mis
sionary style. They often employ the most dramatic strokes to paint
a future so black that after reading their works one wonders how
people can persist in giving birth to children, or in drawing up
3
On the Inevitability
of the Middle Classes:
A Sociological Caprice
hat you who are reading this are reading it is almost proof in
itself: proof that you belong. Please forgive, dear reader, this
direct address. (Proof is perhaps an exaggeration.) I grant you tha
in the following remarks I will be claiming more than I ca
prove for example, that there is such a thing as the middle class.
Without batting an eye. After all, middle class is a phrase like any
other, even if it sounds old-fashioned (like dear reader), and the
fact that it is mostly said in a tone of annoyance, of disgust even,
is not my fault. That has always been the case at least since Lud
wig Borne, himself a member of the middle classes, introduced the
term into the German political vocabulary around 1830.
Without any scruples, without having ploughed through the
literature, i.e., a few tens of thousands of pages on the concept
of class in M ., E., and X., I would further claim that the class
referred to here can only be defined in terms of what it is not, in
other words as the class that is neither nor/'
Permit me not out of curiosity, but simply in the hope of mak
ing myself understood to ask some questions of you.
* \1.M arx, E.-Engels
224
4
Two Notes on
the End of the World
I
II
Berlin, Spring 1978
Dear Balthasar,
When I wrote my comment on the apocalypse a work that I
confess was not particularly thorough or serious I was still un
aware that you were also concerned with the future. You com
plained to me on the telephone that you were not really getting
anywhere. That sounded almost like an appeal for help. I know
you well enough to understand your dilemma. Today it is only the
technocrats who are advancing toward the year two thousand full
of optimism, with the unerring instinct of lemmings, and you are
not one of their number. On the contrary, you are a faithful soul,
always ready to assemble under the banner of utopia. You want
as much as ever to hold fast to the principle of hope, for you wish
us well: i.e., not only you and me, but humanity as a whole.
Please dont be angry if this sounds ironic. That isnt my fault.
You would have liked to see me come rushing to your aid. My
letter will be disappointing for you, and perhaps you even feel that
I am attacking you from behind. That isnt my intention. All I
would like to suggest is that we consider things with the cuffs off.
The strength of left-wing theory of whatever stamp, from Babeuf through to Ernst Bloch, i.e., for more than a century and a
half, lay in the fact that it based itself on a positive utopia that
had no peer in the existing world. Socialists, Communists, and
anarchists all shared the conviction that their struggle would in
troduce the realm of freedom in a foreseeable period of time. They
knew just where they wanted to go and just what, with the help
of history, strategy and effort, they ought or needed to do to get
there. Now, they no longer do. I read these lapidary words re
cently in an article by the English historian Eric Hobsbawm. But
this old Communist does not forget to add that In this respect,
they do not stand alone. Capitalists are just as much at a loss as
socialists to understand their future, and just as puzzled by the
failure of their theorists and prophets.
Hobsbawm is quite correct. The ideological deficit exists on both
sides. Yet the loss of certainty about the future does not balance
out. It is harder to bear for the Left than for those who never had
Notes
244 Notes
6. Among those who blithely disregard this fact, I would mention some
European philosophers, for example Romano Guardini, M ax Picard, and
Ortega y Gasset. In America, this essentially conservative stance has been
assumed by Henry Miller and a number of Beat Generation writers.
Notes 245
17. Georg Lukacs, Wider den missverstandenen Realismus (Hamburg,
1958).
18. Two great exceptions are Benjamin and Adorno. Benjamins trea
tise on Der B egriff der Kunstkritik in der deutschen Romantik (Scbriften
II, Frankfurt, 1955) and Adornos essay Zum Gedachtnis Eichendorffs
(Noten zur Literatur I, Frankfurt: 1958) could form the basis of a true
understanding of German romantic poetry.
19. Journaux intimes. M on cceur mis a nu. L X X X III.
20. Auswahl in sechs Banden, I (Berlin, 1959).
21. Ftille des Daseins, p. 106 (Frankfurt, 1958).
22. Ausgewahlte Gedichte, p. 49 (Frankfurt, 1960).
23. Gesammelte Werke III, p. 656 (Hamburg, 1961).
24. The Republic, 424. In accordance with the Greek notion, Plato
conceives music to include what we would call rhythm and metrical fig
uration, as well as accent and phrasing. This is clear from the context; cf.
in particular 398-401.
246 Notes
Toward a Theory of Treason
1. Quoted from Gunther Weisenborn, Der lantlose Aufstand. Bericht
iiber die Widerstandsbewegung des deutschen Volkes 19 3 3 bis 19 4 5, p.
25Off. (Reinbek, 1962).
2. Margret Boveri, Der Verrat im 20. Jabrbundert. I: Fur und gegen
die Nation (Hamburg, 1956), p. 12.
3. W ith respect to the following, compare Sigmund Freud, Totem and
Taboo. New York: Norton, 1952.
4. J. G. Frazer, The Golden Bough, Part II. Taboo and the Perils o f
the Soul. Third Edition (London, 1911), p. 132.
5. Montesquieu, L Esprit des Lois, XII, 7.
6. Hannah Arendt provides a very trenchant analysis of the concept of
the objective opponent in her book Origins o f Totalitarianism (New
York: Harcourt, Brace, Jovanovich, 1973).
7. Ibn Batuta, Die Reise des Arabers Ibn Batuta durch Indien und
China. Bearbeitet von H. von Mzik. (Hamburg, 1911). Quoted from Elias
Canetti, Masse und Macht (Hamburg, 1960), p. 497; English transl.,
Crowds and Power, New York: Continuum, 1978). Canettis work is
indispensable for the study of the connection between sovereignty and
paranoia.
8. The figure 150,000 is based on data of Dieter Posser, a lawyer
from Essen, who has made a name for himself as a defense attorney in
political trials. Compare the Suddeutsche Zeitung of April 30, 1964.
Notes 247
7. Canetti, Crowds and Pow er.
8. Politik (Leipzig, 1897).
9. Fischer Lexikon, Volume 12: Recht (Frankfurt am M ain, 1959),
p. 137f.
10. Zeitgemasses tiber Krieg und T o d (1915), in Das Unbewusste.
Schriften zur Psychoanalyse (Frankfurt am M ain, 1960), p. 19If.
11. Gerhard Schoenberner, The Yellow Star, rev. ed., trans. Susan
Sweet (London: Corgi, 1969), p. 12.
22.
Es gibt keinen jiidischen Wohnbezirk in Warschau mehr. Facsimile
edition of the Stroop Report English trans. Jurgen Stroop, The Stroop
Report: The Jew ish Quarter o f Warsaw Is N o M ore, trans. and annotated
by Sybil M ilton, intro, by Andrzej Wirth [New York: Pantheon, 1979]).
13. Felix Kersten, Totenkopf und Treue, p. 144. Quoted from Joachim
C. Fest, Das Gesicht des Dritten Reiches (Munchen, 1963), p. 169f.
14. Internationales Militartribunal, D er Prozess gegen die Hauptkriegsverbrecher (Niirnberg, 1947), Volume X X IX , p. 145ff.
15. On Thermonuclear War, p. 21.
16. Op. cit., p. 133 and passim.
17. Der Spiegel, Nr. 47/1963, quoting the Journal o f Abnorm al and
Social Psychology (Boston, October 1963).
18. In reference to this compare Eric J. Hobsbawm, Primitive Rebels:
Studies in Archaic Forms o f Social Movements in the 19th and 20th Cen
turies (New York: Norton, 1965).
Berlin Commonplaces
1.
The Fallex Bunker is where the West German government went when
it exercised the suspension of the Basic Law (the constitution) under the
emergency laws.
248 Notes
9. Bertolt Brecht, Kraft und Schwache der Utopie, in Gesammelte
Werke, VIII (Frankfurt, 1967), pp. 43437.
10. Andre Gide, op. cit., p. 404. Gide is referring here to a pamphlet
by M . Yvon, Ce quest devenue la Revolution Russe.
11. N ouvelle Revue Frangaise (March 1936).
12. Andre Gide, op. cit., p. 8.
13. Leon Trotsky, Revolution Betrayed, p. 8.
14. Umberto Melotti, in Terzo M ondo (Milano, March 1972), pp. 93ff.
The book by Maria Macciocchi that he criticizes appeared in M ilano in
1971 under the title Dalla Cina, dopo la rivoluzione culturale.
15. Susan Sontag, Trip to Hanoi (New York, 1969).
16. Jan Myrdal, Report from a Chinese Village (New York: Pantheon,
1965).
Notes 249
ecological campaigns, such as Earth Day, and the liaison between busi
ness, politicians, local government, and citizen campaigns.
10. For an illustration of the eco-industrial complex in West Ger
many see Profitschmutz, p. 14, and the pamphlet Ohne uns kein Umweltschutz.
11. Primera Conferencia de Solidaridad de los Pueblos de America
Latina, in America Latina: Demografia, Poblacion indtgena y Salud, vol.
2 (Havana, 1968), pp. 15f.
12. Ibid., pp. 5557.
13. Claus Koch, Mystifikationen der Wachtumskrise : Zum Bericht
des Club o f Rome, Merkur, Heft 297 (January 1973), p. 82.
14. La morte ecologica, Foreword by Giorgia Nebbia (Bari, 1972),
p. xvf. (Italian edition of The Ecologist, A Blueprint for Survival [Hammondsworth, 1972]).
15. Club of Rome, Limits to Growth (New York, 1972), p. 13.
16. Kapitalismus und Umweltkatastrophe, by Gerhard Kade, dupli
cated manuscript, 1973.
17. Die sozialistischen Lander: Ein Dilemma des westeuropaischen
Linken, by Rossana Rossanda, Kursbuch 30, 1973, p. 26.
18. Cf. Marx und die Oologie in Kursbuch 33, 1973, pp. 17587.
19. Rossana Rossanda, op. cit., p. 30.
20. Andre Gorz, Technique, Techniciens et Lutte de Classes, Les
Temps Modernes (AugustSeptember 1971), vol. 30-12, p. 141.
21. Anne H. and Paul R. Ehrlich, Population, Resources, Environment
(San Francisco, 1972), pp. 32224.
22. Fore-efter, En Diagnos, by Gosta Ehrensvard (Stockholm, 1971),
pp. 105-7.
23. Ehrlich, Population, p. 322.
24. Offentlichkeit und Erfahrung. Z u r Organisationsanalyse von burgerlicher und proletarischer Offentlichkeit (Frankfurt, 1972), p. 242.
25. Ibid., pp. 283f.
26. Economic and Philosophical Manuscripts o f 1844, by Karl Marx,
ed. D. Struik, (London, 1970), p. 137.
ACKNOWLEDGMENTS
The sources of the translations contained in this volume are as follows:
The Industrialization o f the M in d , Poetry and Politics, Commonplaces on
the Newest Literature, Toward a Theory o f Treason, Reflections before a
Glass Cage, Berlin Commonplaces, Tourists of the Revolution all appeared
in The Consciousness Industry and Politics and Crime, both copyright 1974 by
The Continuum Publishing Company.
Las Casas, or A Look Back into the Future appeared in Bartolome de las Casas,
The Devastation o f the Indies, copyright 1974 by The C ontinuum Publishing
Company.
Constituents o f a Theory o f the M edia and A Critique o f Political Ecology artcopyright 1974 by the New Left Review; Notes on the End of the W orld is
copyright 1978 by the New Left Review.
The original German sources are as follows:
Bewusstseins-Industrie and Poesie und Politik from Einzelheiten, copyright
1962 by Suhrkamp Verlag, Frankfurt; Z ur Theorie des Verrats and Reflexionen
vor einem Glaskasten from Deutschland, Deutschland unter anderem, copyright
1964 by Suhrkamp Verlag, Frankfurt.
Gemeinplatze, die neueste Literatur betreffend copyright 1969 by Kursbuch
Verlag, Berlin; Baukasten zu einer Theorie der M edien copyright 1971
Kursbuch Verlag, Berlin; Berliner Gemeinplatze copyright 1968 Kursbuch
Verlag Berlin; Revolutions-Tourismus and Z u r Kritik der politischen
O kologie copyright 1973 Kursbuch Verlag, Berlin; Zwei Randbemerkungen
zum Weltuntergang copyright 1978 Kursbuch Verlag, Berlin.
Las Casas oder ein Riickblick in die Z uku n ft copyright 1962 Insel Verlag,
M unich.
Von der Unaufhaltsamkeit des Kleinbiirgertums copyright 1976 by the
Frankfurter Rundschau.
250