The Naysayers

Walter Benjamin, Theodor Adorno, and the critique of pop culture.

By Alex Ross | The New Yorker | September 8, 2014

Adorno and Benjamin debating art in the technological age sustained one of the twentieth centurys richest intellectual...
Adorno and Benjamin, debating art in the technological age, sustained one of the twentieth century’s richest intellectual conversations.Illustration by Patrick Bremer / Left: Ullstein Bild / AKG; Right: Imagno / AKG

In Jonathan Franzen’s 2001 novel, “The Corrections,” a disgraced academic named Chip Lambert, who has abandoned Marxist theory in favor of screenwriting, goes to the Strand Bookstore, in downtown Manhattan, to sell off his library of dialectical tomes. The works of Theodor W. Adorno, Jürgen Habermas, Fredric Jameson, and various others cost Chip nearly four thousand dollars to acquire; their resale value is sixty-five. “He turned away from their reproachful spines, remembering how each of them had called out in a bookstore with a promise of a radical critique of late-capitalist society,” Franzen writes. After several more book-selling expeditions, Chip enters a high-end grocery store and walks out with an overpriced filet of wild Norwegian salmon.

Anyone who underwent a liberal-arts education in recent decades probably encountered the thorny theorists associated with the Institute for Social Research, better known as the Frankfurt School. Their minatory titles, filled with dark talk of “Negative Dialectics” and “One-Dimensional Man,” were once proudly displayed on college-dorm shelves, as markers of seriousness; now they are probably consigned to taped-up boxes in garages, if they have not been discarded altogether. Once in a while, the present-day Web designer or business editor may open the books and see in the margins the excited queries of a younger self, next to pronouncements on the order of “There is no document of culture which is not at the same time a document of barbarism” (Walter Benjamin) or “The whole is the false” (Adorno).

In the nineteen-nineties, the period in which “The Corrections” is set, such dire sentiments were unfashionable. With the fall of the Soviet Union, free-market capitalism had triumphed, and no one seemed badly hurt. In light of recent events, however, it may be time to unpack those texts again. Economic and environmental crisis, terrorism and counterterrorism, deepening inequality, unchecked tech and media monopolies, a withering away of intellectual institutions, an ostensibly liberating Internet culture in which we are constantly checking to see if we are being watched: none of this would have surprised the prophets of Frankfurt, who, upon reaching America, failed to experience the sensation of entering Paradise. Watching newsreels of the Second World War, Adorno wrote, “Men are reduced to walk-on parts in a monster documentary film which has no spectators, since the least of them has his bit to do on the screen.” He would not revise his remarks now.

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https://www.newyorker.com/magazine/2014/09/15/naysayers

About cPaul

Father: "He never amounted to anything". Mother: "Who the hell does he think he is"? Former Teacher: "Smart as a bag of hammers". Former Boss: "Condescending". Brother: "Mom loves me more".
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