In revolutions men fall and rise. Long before this war is over, much as you hear me praised now, you may hear me cursed and insulted.—William Tecumseh Sherman, 1864
Revolutions have never lightened the burden of tyranny, they have only shifted it to another shoulder.
—George Bernard Shaw, 1903
This issue of Lapham’s Quarterly takes up the topic of revolution because for the last several years the word has been hanging around backstage on the national television talk-show circuit waiting for somebody, anybody—visionary poet, unemployed automobile worker, late-night comedian—to cue its appearance on camera. I picture the word sitting alone in the green room with the bottled water and a banana, armed with press clippings of its once-upon-a-time star turns in America’s political theater (tie-dyed and brassiereless on the barricades of the 1960s countercultural insurrection, short-haired and seersucker smug behind the desks of the 1980s Reagan Risorgimento), asking itself why it’s not being brought into the segment between the German and the Japanese car commercial. Surely even the teleprompter must know that it is the beast in the belly of the news reports, more of them every day in print and en blog, about income inequality, class conflict, the American police state. Why then does nobody have any use for it except in the form of the adjective, revolutionary, unveiling a new cellphone app or a new shade of lipstick?
I can think of several reasons, among them the cautionary tale told by the round-the-clock media footage of dead revolutionaries in Syria, Egypt, and Tunisia, also the certain knowledge that anything anybody says (on camera or off, to a hotel clerk, a Facebook friend, or an ATM) will be monitored for security purposes. Even so, the stockpiling of so much careful silence among people who like to imagine themselves on the same page with Patrick Henry—“Give me liberty, or give me death”—raises the question as to what has become of the American spirit of rebellion. Where have all the flowers gone, and what, if anything, is anybody willing to risk in the struggle for “Freedom Now,” “Power to the People,” “Change We Can Believe In”?
My guess is next to nothing that can’t be written off as a business expense or qualified as a tax deduction, but the text and illustration on the pages that follow open the discussion to authorities more reliably informed—among them Aristotle, Edmund Burke, Rembrandt van Rijn, Karl Marx, Adolf Hitler, Che Guevara, and Václav Havel—with the thought that they might hearten the ci-devant celebrity guest in the green room with no chance of its being put up against a wall or pulled out of a hat. Not in America at least, but maybe, with a better publicist and 50 percent of the foreign rights, somewhere east of the sun or west of the moon.
The hallowed American notion of armed rebellion as a civic duty stems from the letter that
Thomas Jefferson writes from Paris in 1787 as a further commentary on the new Constitution drawn up that year in Philadelphia, a document that he thinks invests the state with an unnecessary power to declare the citizenry out of order. A mistake, says Jefferson, because no country can preserve its political liberties unless its rulers know that their people preserve the spirit of resistance, and with it ready access to gunpowder.
“The tree of liberty must be refreshed from time to time with the blood of patriots and tyrants. It is its natural manure.”
Jefferson conceived of liberty and despotism as plantings in the soil of politics, products of human cultivation subject to changes in the weather, the difference between them not unlike that between the growing of an orchard and the draining of a cesspool, both understood as means of environmental protection. It is the turning of the seasons and the cyclical motions of the stars that Jefferson has in mind when in his letter he goes on to say, “God forbid we should ever be twenty years without such a rebellion”—i.e., one conceived not as a lawless upheaval but as a lawful recovery.
The twentieth-century philosopher and political scientist Hannah Arendt says that the American Revolution was intended as a restoration of what its progenitors believed to be a natural order of things “disturbed and violated” by the despotism of an overbearing monarchy and the abuses of its colonial government. During the hundred years prior to the Declaration of Independence, the Americans had developed tools of political management (church congregations, village assemblies, town meetings) with which to govern themselves in accordance with what they took to be the ancient liberties possessed by their fellow Englishmen on the far side of the Atlantic Ocean. They didn’t bear the grievances of a subjugated populace, and the seeds of revolt were nowhere blowing in the wind until the British crown demanded new, and therefore unlawful, tax money.
Arendt’s retrieval of the historical context leads her to say of the war for independence that it was “not revolutionary except by inadvertence.” To sustain the point she calls on Benjamin Franklin’s memory of the years preceding the shots fired at Lexington in April 1775: “I never had heard in any conversation from any person, drunk or sober, the least expression of a wish for a separation, or hint that such a thing would be advantageous to America.” The men who came to power after the Revolution were the same men who held power before the Revolution, their new government grounded in a system of thought that was, in our modern parlance, conservative.
Sphinx, by Didier Massard, 1996. Cibachrome print. © Didier Massard, courtesy of Julie Saul Gallery, New York.
Born thirteen years later under the fixed star of a romantic certainty, the French Revolution was advertent, a violent overthrow of what its proponents, among them Maximilien de Robespierre, perceived as an unnatural order of things. Away with the old, in with the new; kill the king, remove the statues, reset the clocks, welcome to a world that never was but soon is yet to come. The freedom-loving songs and slogans were well suited to the work of ecstatic demolition, but a guillotine is not a living tree, and although manured with the blood of aristocrats and priests, it failed to blossom with the leaves of political liberty. An armed mob of newly baptized citoyens stormed the Bastille in 1789; Napoleon in 1804 crowned himself emperor in the cathedral of Notre Dame.
Jefferson’s thinking had been informed by his study of nature and history, Robespierre’s by his reading of Rousseau’s poetics. Neither set of political ideas brought forth the dream-come-true products of the nineteenth-century Industrial Revolution—new worlds being born every day of the week, the incoming tide of modern manufacture and invention (the cotton gin, gas lighting, railroads) washing away the sand castles of medieval religion and Renaissance humanism, dismantling Robespierre’s reign of virtue, uprooting Jefferson’s tree of liberty.
So it is left to Karl Marx, along with Friedrich Engels, to acknowledge the arrival of the new world that never was with the publication in German of the Communist Manifesto in 1848: “The bourgeoisie cannot exist without constantly revolutionizing the instruments of production, and thereby the relations of production, and with them the whole relations of society.” Men shape their tools, their tools shape their relations with other men, and the rain it raineth every day in a perfect storm of creative destruction that is amoral and relentless. The ill wind, according to Marx, blows from any and all points of the political compass with the “single, unconscionable freedom—free trade,” which resolves “personal worth into exchange value,” substitutes “callous ‘cash payment’” for every other form of human meaning and endeavor, devotes its all-devouring enthusiasms to “naked, shameless, direct, brutal exploitation.”
Over the course of the nineteenth century, the energies of the capitalist dynamic take full and proud possession of the whole of Western society. They become, in Marx’s analysis, the embodiment of “the modern representative state,” armed with the wealth of its always newer and more powerful machines (electricity, photography, the telephone, the automobile) and staffed by executives (i.e., politicians, no matter how labeled) who function as “a committee for managing the common affairs of the whole bourgeoisie.”
What Marx sees in theory as an insatiable abstraction, the American historian
Henry Adams sees as concrete and overwhelming fact. Marx is seventeen years dead and the Communist Manifesto a sacred text among the left-wing intelligentsia everywhere in Europe when Adams, his habit of mind as profoundly conservative as that of his great-grandfather, stands in front of a colossal dynamo at the Paris Exposition in 1900 and knows that Prometheus, no longer chained to his ancient rock, bestrides the earth wearing J.P. Morgan’s top hat and P.T. Barnum’s cloak of as many colors as the traffic will bear. Adams shares with Marx the leaning toward divine revelation:
To Adams the dynamo became a symbol of infinity. As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross. The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within arm’s length at some vertiginous speed…Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force.
I inherited the instinct as a true-born American bred to the worship of both machinery and money; an appreciation of its force I acquired during a lifetime of reading newspaper reports of political uprisings in the provinces of the bourgeois world state—in China, Israel, and Greece in the 1940s; in the 1950s those in Hungary, Cuba, Guatemala, Algeria, Egypt, Bolivia, and Iran; in the 1960s in Vietnam, France, America, Ethiopia, and the Congo; in the 1970s and 1980s in El Salvador, Poland, Nicaragua, Kenya, Argentina, Chile, Indonesia, Czechoslovakia, Turkey, Jordan, Cambodia, again in Iran; over the last twenty-four years in Russia, Venezuela, Lebanon, Croatia, Bosnia, Libya, Tunisia, Syria, Ukraine, Iraq, Somalia, South Africa, Romania, Sudan, again in Algeria and Egypt. The plot line tends to repeat itself—first the new flag on the roof of the palace, rapturous crowds in the streets waving banners; then searches, requisitions, massacres, severed heads raised on pikes; soon afterward the transfer of power from one police force to another police force, the latter more repressive than the former (darker uniforms, heavier motorcycles) because more frightened of the social and economic upheavals they can neither foresee nor control.
All the shiftings of political power produced changes within the committees managing regional budgets and social contracts on behalf of the bourgeois imperium. None of them dethroned or defenestrated Adams’ dynamo or threw off the chains of Marx’s cash nexus. That they could possibly do so is the “romantic idea” that Albert Camus, correspondent for the French Resistance newspaper Combat during and after World War II, sees in 1946 as having been “consigned to fantasy by advances in the technology of weaponry.”
The French philosopher Simone Weil draws a corollary lesson from her acquaintance with the Civil War in Spain, and from her study of the communist Sturm und Drang in Russia, Germany, and France subsequent to World War I. “One magic word today seems capable of compensating for all sufferings, resolving all anxieties, avenging the past, curing present ills, summing up all future possibilities: that word is revolution…This word has aroused such pure acts of devotion, has repeatedly caused such generous blood to be shed, has constituted for so many unfortunates the only source of courage for living, that it is almost a sacrilege to investigate it; all this, however, does not prevent it from possibly being meaningless.”
During the turbulent decade of the 1960s in the United States, the advancing technologies of bourgeois news production (pictures in place of print) transformed the meaningless magic word into a profitable commodity, marketing it both as deadly menace and lively fashion statement. The commercial putsch wasn’t organized by the CIA or planned by a consortium of advertising agencies; it evolved in two stages as a function of the capitalist dynamic that substitutes cash payment for every other form of human meaning and endeavor.
The disorderly citizenry furnishing the television footage in the early sixties didn’t wish to overthrow the government of the United States. Nobody was threatening to reset the game clock in the Rose Bowl, tear down Grand Central Terminal, or remove the Lincoln Memorial. The men, women, and children confronting racist tyranny in the American South—sitting at a lunch counter in Alabama, riding a bus into Mississippi, going to school in Arkansas—risked their lives in pure acts of devotion, refreshing the tree of liberty with the blood of patriots. The Civil Rights movement and later the anti–Vietnam War protests were reformative, not revolutionary, the expression of democratic objection and dissent in accord with the thinking of Jefferson, also with President John F. Kennedy’s having said in his 1961 inaugural address, “Ask not what your country can do for you—ask what you can do for your country.” Performed as a civic duty, the unarmed rebellions led to the enactment in the mid-1960s of the Economic Opportunity Act, the Voting Rights Act, the Medicare and Medicaid programs, eventually to the shutting down of the war in Vietnam.
The television camera, however, isn’t much interested in political reform (slow, tedious, and unphotogenic) and so, even in the first years of protest, the news media presented the trouble running around loose in the streets as a revolution along the lines of the one envisioned by Robespierre. Caught in the chains of the cash nexus, they couldn’t do otherwise. The fantasy of armed revolt sold papers, boosted ratings, monetized the fears at all times running around loose in the heads of the propertied classes. The multiple wounds in the body politic over the course of the decade—the assassination of President Kennedy, big-city race riots, student riots at venerable universities, the assassinations of Dr. Martin Luther King Jr. and Senator Robert F. Kennedy—amplified the states of public alarm. The fantastic fears of violent revolt awakened by a news media in search of a profit stimulated the demand for repressive surveillance and heavy law enforcement that over the last fifty years has blossomed into one of the richest and most innovative of the nation’s growth industries. For our own good, of course, and without forgoing our constitutional right to shop.
God forbid that the excitement of the 1960s should in any way have interfered with the constant revolutionizing of the bourgeois desire for more dream-come-true products to consume and possess. The advancing power of the media solved what might have become a problem by disarming the notion of revolution as a public good, rebranding it as a private good. Again it was impossible for the technology to do otherwise. The medium is the message, and because the camera sees but doesn’t think, it substitutes the personal for the impersonal; whether in Hollywood restaurants or Washington committee rooms, the actor takes precedence over the act. What is wanted is a flow of emotion, not a train of thought, a vocabulary of images better suited to the selling of a product than to the expression of an idea. Narrative becomes montage, and as commodities acquire the property of information, the amassment of wealth follows from the naming of things rather than the making of things.
The voices of conscience in the early 1960s spoke up for a government of laws, not men, for a principle as opposed to a lifestyle. By the late 1960s the political had become personal, the personal political, and it was no longer necessary to ask what one must do for one’s country. The new-and-improved question, available in a wide range of colors, flower arrangements, cosmetics, and musical accompaniments, underwrote the second-stage commodification of the troubled spirit of the times.
Writing about the socialist turbulence on the late-1930s European left, Weil lists among the acolytes of the magic word, “the bourgeois adolescent in rebellion against home surroundings and school routine, the intellectual yearning for adventure and suffering from boredom.” So again in America in the late 1960s, radical debutantes wearing miniskirts and ammunition belts, Ivy League professors mounting the steps of the Pentagon, self-absorbed movie actors handing around anarchist manifestos to self-important journalists seated at the tables in Elaine’s. By the autumn of 1968 the restaurant on the Upper East Side of Manhattan served as a Station of the Cross for the would-be revolutionaries briefly in town for an interview with Time or a photo shoot for Vogue, and as a frequent guest of the restaurant, I could see on nearly any night of the week the birth of a new and imaginary self soon to become a boldfaced name. Every now and then I asked one of the wandering stars what it was that he or she hoped to have and to hold once the revolution was won. Most of them were at a loss for an answer. What they knew, they did not want, what they wanted, they did not know, except, of course, more—more life, more love, more drugs, more celebrity, more happiness, more music.
As a consequence of the political becoming personal, by the time the 1960s moved on to the 1980s and President Reagan’s Morning in America, it was no longer possible to know oneself as an American citizen without the further identification of at least one value-adding, consumer-privileged adjective—female American, rich American, black American, Native American, old American, poor American, gay American, white American, dead American. The costumes changed, and so did the dossier of the malcontents believing themselves entitled to more than they already had. A generation of dissatisfied bourgeois reluctant to grow up gave way to another generation of dissatisfied bourgeois unwilling to grow old. The locus of the earthly Paradise shifted from a commune in the White Mountains to a gated golf resort in Palm Springs, and the fond hope of finding oneself transformed into an artist segued into the determined effort to make oneself rich. What remained constant was the policy of enlightened selfishness and the signature bourgeois passion for more plums in the pudding.
While making a magical mystery tour of the Central American revolutionary scene in 1987, Deb Olin Unferth remarks on the work in progress: “Compared to El Salvador, Nicaragua was like Ping-Pong…like a cheerful communist kazoo concert…We were bringing guitars, plays adapted from Nikolai Gogol, elephants wearing tasseled hats. I saw it myself and even then I found it a bit odd. The Nicaraguans wanted land, literacy, a decent doctor. We wanted a nice singalong and a ballet. We weren’t a revolution. We were an armed circus.”
As a descriptive phrase for what American society has become over the course of the last five decades, armed circus is as good as any and better than most. The constantly revolutionizing technologies have been spinning the huge bourgeois wheel of fortune at the speed of light, remaking the means of production in every field of human meaning and endeavor—media, manufacturing, war, finance, literature, crime, medicine, art, transport, and agriculture. The storm wind of creative destruction it bloweth every day, removing steel mills, relocating labor markets, clearing the ground for cloud storage. On both sides of the balance sheet, the accumulations of more—more microbreweries and Internet connections, more golf balls, cheeseburgers, and cruise missiles; also more unemployment, more pollution, more obesity, more dysfunctional government and criminal finance, more fear. The too much of more than anybody knows what to do with obliges the impresarios of the armed circus to match the gains of personal liberty (sexual, social, economic, if one can afford the going price) with more repressive systems of crowd control.
To look back to the early 1960s is to recall a society in many ways more open and free than it has since become, when a pair of blue jeans didn’t come with a radio-frequency ID tag, when it was possible to appear for a job interview without a urine sample, to say in public what is now best said not at all. So frightened of its own citizens that it classifies them as probable enemies, the U.S. government steps up its scrutiny of what it chooses to regard as a mob. So intrusive is the surveillance that nobody leaves home without it. Tens of thousands of cameras installed in the lobbies of office and apartment buildings and in the eye sockets of the mannequins in department-store windows register the comings and goings of a citizenry deemed unfit to mind its own business.
Prometheus Bringing Fire, by Jan Cossiers, c. 1635. Prado Museum, Madrid, Spain.
The social contract offered by the managing agents of the bourgeois state doesn’t extend the privilege of political revolt, a point remarked upon by the Czech playwright Václav Havel just prior to being imprisoned in the late 1970s by the Soviet regime then governing Czechoslovakia: “No attempt at revolt could ever hope to set up even a minimum of resonance in the rest of society, because that society is ‘soporific,’ submerged in a consumer rat race…Even if revolt were possible, however, it would remain the solitary gesture of a few isolated individuals, and they would be opposed not only by a gigantic apparatus of national (and supranational) power, but also by the very society in whose name they were mounting their revolt in the first place.”
The observation accounts for the past sell-by date of the celebrity guest alone and palely loitering in the green room with the bottled water and the banana. Who has time to think or care about political change when it’s more than enough trouble to save oneself from drowning in the flood of technological change? All is not lost, however, for the magic word that stormed the Bastille and marched on the tsar’s winter palace; let it give up its career as a noun, and as an adjective it can look forward to no end of on-camera promotional appearances with an up-and-coming surgical procedure, breakfast cereal, or video game.