I’m in that stage in the writing process where the work of figuring things out is going on elsewhere, inaccessible to me – whatever part of me works out complex problems, has holed itself up, toiling away, and the rest of me is left waiting, a bit drained of energy, able to sense that intense work is being done, but excluded from the work process and in the dark as to what its end product might be. Keeping me company are various random associations that seem as though they have something to do with one another, and to whatever I’m trying to figure out. I figured I would toss some of those associations up here.
One of the things that troubles me with Lukács is his equation of the totality with the standpoint of critique – an equation that provides the touchstone, unifying concept throughout History and Class Consciousness. The opening to the essay “The Marxism of Rosa Luxemburg” makes this point particularly concisely:
It is not the primacy of economic motives in historical explanation that constitutes the decisive difference between Marxism and bourgeois thought, but the point of view of totality. The category of totality, the all-pervasive supremacy of the whole over the parts is the essence of the method which Marx took over from Hegel and brilliantly transformed into the foundations of a wholly new science. The capitalist separation of the producer from the total process of production, the division of the process of labour into parts at the cost of the individual humanity of the worker, the atomisation of society into individuals who simply go on producing without rhyme or reason, must all have a profound influence on the thought, the science and the philosophy of capitalism. Proletarian science is revolutionary not just by virtue of its revolutionary ideas which it opposes to bourgeois society, but above all because of its method. The primacy of the category of totality is the bearer of the principle of revolution in science. (p. 27)
Lukács’ emphasis on totality can be read as a sophisticated, Hegelian inflection of a common line of criticism of capitalism in the crisis-ridden period of the transition from the laissez-faire era to the development of more state-centred forms of capitalism: the critique emphasises the irrationality of capitalism, understood to be caused by the retention of an outmoded system of private property ownership and competition between capitals that prevents production and distribution from becoming fully transparent to itself, and hence rational, through centralised state planning.
The experiences of the mid-20th century led to an intense reaction against this form of critique, as state planning and the suspension of private ownership and competition, were realised in intensely repressive forms. “Rational” planning proved compatible with the rational administration of terror. In such conditions, the political ideal of a society that had become fully transparent to itself, no longer seemed to hold emancipatory promise but, instead, to imply that there would be nowhere left to hide. The pessimism of the first generation Frankfurt School issues out of its confrontation with what appeared to be the horrific oppressive realisation of socialist ideals.
So there are historical reasons for unease with Lukács’ vision of the totality as the standpoint of critique – fears that this sort of critical discourse is “normatively underdetermined” in the sense that it does not provide critical purchase on the kinds of oppression that are mediated by the state. A theory whose central critical concept is the “all-pervasive supremacy of the whole over the parts” sounds, to contemporary ears, much more likely to facilitate and apologise for oppression, than to bring to light emancipatory possibilities.
But it’s not just 20th century history that suggests that the totality is not the best way to conceptualise the standpoint of critique. I’m writing away from my books, and so I can’t demonstrate this point textually in this post, but there is considerable material from the Grundrisse and from Capital to suggest that Marx equates the viewpoint from the totality, with a particular moment in the process of the reproduction of capital (Murray has made the point, for example, that the category of capital is introduces using Hegel’s vocabulary for the Geist – suggesting, at the very least, that Marx would not agree with Lukács’ attempt to use a similar vocabulary for the proletariat, in order to claim the totality-eye-view as the perspective of the revolution…).
If Marx does not intend the totality to be his standpoint of critique, what does he intend? How does Marx conceptualise his critical standpoint? My suggestion – and I toss this out as a placeholder for future development, rather than as an argument I intend to make in any adequate way here – is that Marx finds his standpoint, precisely not in the totality, but in various “part contexts” that are generated in and through the process of the reproduction of capital, whose distinctive potentials we tend not to “see”, because our gaze focusses instead on the ways in which these parts are currently configured into a particular whole. A great deal of Capital consists of breaking larger wholes down into their various potential parts, exploring the implications of those parts – both as they are currently configured as moments that make a contribution to the reproduction of capital, and as they might potentially be reconfigured in order to realise very different forms of collective life.
Marx metaphorises capitalism as a kind of Frankenstein’s monster – as a reanimated creature – stitched together from disparate parts, each with their own distinctive tendencies, ensorcelled to contribute to ends that are not intrinsic or essentially bound to those parts. Social actors indigenous to this monstrous context find themselves adopting practical orientations toward these parts, reproducing the parts necessarily in the process of (unintentionally) generating the whole – the subjective and objective consequence of this process, is that the reproduction of capital necessarily drags along in its wake the reproduction of these diverse habits, forms of being in the world, material potentials, and other “resources” that can be repurposed to different social ends. Critique within this framework does not speak from the point of view of the totality (although it may need to recognise that a certain kind of whole is currently being reproduced), but rather from the point of view of the parts – of their disparate potentials, which are currently being abridged in order that this particular whole might persist. To seize these potentials, however, we need to shake off the enchantment that this particular whole, is the only possible whole – we need to learn to search beneath the totality, to begin to recognise the potentials of a diverse array of constituent parts.
I will hopefully write on all this much more adequately in the coming months. For the moment, I’ll just point to a fortuitous image – a poem that happened to be linked for other reasons entirely over at Concurring Opinions today – Kenneth Koch’s “One Train May Hide Another”:
In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line —
Then it is safe to go on reading.
[….]
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the foot of a tree
With one and when you get up to leave there is another
Whom you’d have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It can be important
To have waited at least a moment to see what was already there.