Marx For Dummies

We’ve been talking about communism here and there on the blog, so I thought it was a good time to reprint this. It first ran on Splice Today.
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My seven-year-old saw me reading Terry Eagleton’s new book, Why Marx Was Right. Said son has just started reading himself (he loves Jeff Smith’s Bone) and has become perhaps overly inquisitive about any books in reach.

“What’s that?” he demanded. “What’s it about?”

I resorted to that phrase well known to fathers everywhere. “Um….”

What is it about?”

So what the hey, I figured. I’ve explained dinosaurs and gravity and sex. I can explain Marxism. “It’s about somebody named Karl Marx,” I said. “It’s talking about why he was right.”

“Right about what?”

“About not liking capitalism. He didn’t like capitalism.” Blank stare. “Do you know what capitalism is?”

“No.”

“Okay, you know how everybody buys and sells everything?”

“Yeah?”

“That’s capitalism. And Marx didn’t like it.”

An expression halfway between incredulity and boredom. “Why didn’t he like it?”

“Well, with the system where everybody buys and sells and tries to make as much money as they can, you end up with some people who have a lot of money who own the factories, and then some people have only a little money and work in the factories. And Marx thought that was unfair. He said that the people who work in the factories should own the factories.”

“Oh.” Pause for consideration. “That makes sense.”

“Yes,” I said. “But some people really don’t like that idea.”

Then his eyes lit up. “The factory owners don’t like it, I bet!”

So there you have it. Marx’s ideas are intuitive enough that even a seven-year old can understand them. Terry Eagleton would approve.

Why Marx Was Right isn’t quite aimed at the Under 8s, but it is (in a fine old Marxist tradition) a populist polemic. As Eagleton notes, Marx has taken a beating in the last quarter century or so. The Soviet Union has collapsed, China has embraced the almighty yen, and hordes of post-everythingists have laid siege to the university, taunting the academic Marxists for culpable white maleness and general untrendy belief in revolution, sweat, and the physical universe.

Eagleton, however, is undaunted. Marx, he insists, has been buried neither by the corpses of Pol Pot nor by the tomes of cultural studies professors. And certainly neither post-structuralism nor Stalin can boast many apologists with as felicitous a prose style as Eagleton. The books breezes through ten common objections to Marxism, with Eagleton acidly and efficiently dispatching each in turn. To the charge that Marx is a utopian, Eagleton observes:

A virulent form of utopianism has indeed afflicted the modern age, but its name is not Marxism. It is the crazed notion that a single global system known as the free market can impose itself on the most diverse cultures and economies and cure all their ills. The purveyors of this totalitarian fantasy are not to be found hiding scar-faced and sinisterly soft-spoken in underground bunkers like James Bond villains. They are to be seen dining at upmarket Washington restaurants and strolling on Sussex estates.

To the claim that Marx is a simplistic materialist, Eagleton responds in part:

For Marx, our thought takes shape in the process of working on the world, and this is a material necessity determined by our bodily needs. One might claim, then, that thinking itself is a material necessity. Thinking and our bodily drives are closely related…. Consciousness is the result of an interaction between ourselves and our material surroundings.

And so on throughout the book; Marx was a democrat, not a totalitarian; an individualist not a collectivist; a believer in reform and, when that failed, in a revolution that was as little violent as possible. Marxism was feminist before feminism; post-colonialist before post-colonialism, and pro-ecology before most ecologists had befouled their washable diapers.

For those, like me, who haven’t read a lot of Marx, the book is a welcome corrective that goes down surprisingly easily. Sometimes, indeed, too easily. There’s a sense throughout that Eagleton isn’t really engaging Marx’s strongest critics. Instead, the book prefers to incinerate a series of straw men. Thus, Eagleton mentions that Edward Said was anti-Marxist, but he doesn’t quote him, preferring instead to knock down more generalized postcolonialist arguments. Similarly, Eagleton breezily dismisses pacifism with a would-you-use-violence-to-prevent-children-being-shot scenario; some vague references to (never specifically named) just war theory, and a blanket declaration that “In any strict sense of the word, pacifism is grossly immoral.” If you didn’t know anything about debates around pacifism, this might seem like a knockdown effort on Eagleton’s part. Otherwise…well, let’s be kind and say that Eagleton’s discussion is not nearly as convincing as he seems to think it is.

The fact that Eagleton is weak on the thing I happen to know about could just be a coincidence. Somehow I doubt it though. He’s popularizing — which means that this book is less Why Marx Was Right than it is Everything You Thought You Knew About Marx Was Wrong. As such, it’s not likely to bring the revolution, but it might get some undergrads and/or aging reviewers to check out Das Kapital. Who knows? It might even sway the odd seven-year-old.

Bite Marx

Since Melinda Beasi wrote about Twilight here earlier this week, I thought I’d follow up with this essay, which ran in an edited form at the Chicago Reader.
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Twilight fans always make a fuss about Team Edward versus Team Jacob, but they might as well be plumping for Team Effete Aristocrat versus Team Colorful Earthy Ethnic Stereotype.

As with all things Twilight, the tropes work not because of their subtlety, but because of the absolute ham-fisted earnestness with which they are deployed. Eclipse is the book where the Edward/Bella/Jacob triangle attains an apotheosis of melodramatic angst-ridden preposterousness. As such, it’s also arguably the book where the bone-headed stereotyping is most thoroughly exploited. What sets the tween heart racing is not that Bella has two boyfriends, but that she has two romance narratives to choose from — narratives of differing but equally venerable pedigree.

In this corner, there’s Edward Cullen. Edward is extravagantly cultured, and ridiculously wealthy. He composes classical ballads, writes in an immaculate hand, and buys his sister a Porche as an offhand gift. Like a real product of the upper crust, he lives with his brothers and sisters, who are all also paired up as husbands and wives. His family is, moreover, obsessed with blood, and has amorphous connections to Italy. He’s foreign, exciting, steeped in ancient traditions, and deeply, ludicrously white. He’s the noble prince come to whisk Bella out of her life and into a deliciously decadent life of luxury and romance. Meyer name-drops Darcy and Heathcliff and Romeo, but Edward has at least as much in common with Prince Charming.

And in this corner, there’s Jacob Black. Jacob is the opposite of upper-class. An Indian living on reservation land, he transforms simultaneously into a werewolf and a laundry list of invidious racial stereotypes. He’s literally hot-blooded — werewolves have higher than normal temperatures, just as vampires have lower than normal ones. Jacob also has massive self-control issues; whenever he gets angry or upset, he starts to shake violently and then turns into a giant deadly wolf. He’s also hairy, frequently bare-chested, and…good with tools! He also eats a prodigious amount — as opposed to the uber-cultured Edward, who doesn’t eat at all.

If Edward is the aristocrat who treats Bella like a delicate queen, Jake is the swarthy, sweaty working-class hero who won’t take no for an answer. Edward will barely allow himself to kiss Bella; Jake, on the other hand, literally overpowers her when he wants a smooch and she’s reluctant. With Edward, Bella always has to be careful; with Jake she gets to be a little bit wild — riding motorcycles, cliff diving, and generally getting in touch with her inner wolf/teen delinquent. If Edward’s the prince whisking away the scullery maid a la Cinderella, Jake is the virile commoner dragging the frigid aristocrat down into the sensual muck a la Titanic.

Romance as a genre has always been just about as obsessed with class as it has been with gender. Differences in social standing are both great drivers of plot (“I’ll never allow you to marry that piece of trash!”) and sexy in their own right. The boy next door (played in Twilight by Bella’s poor, ordinary, never-had-a-chance classmate Mike Newton) is dull — there’s nothing romantic about winding up with the person everybody expects you to wind up with. But a prince to pull you up to the castle or a gardener to drag you down in the muck — that’s an exotic tale to set the heart racing and the bodices ripping.

Meyer’s genius (if you want to call it that) is to have figured out a way to repurpose the same old clichés for an era in which not even tweens want to admit to fetishizing either those on the top of the social scale or those on the bottom. Edward is enchantingly attractive not because he has gobs of money and cultural capital, but rather because he’s an immortal mysterious vampire whose body goes all sparkly in the sun. Jacob is excitingly exotic not because Indians make better lovers, but because he’s an impulsive superstrong werewolf. And the two don’ t want to kill each other because of class or racial animosities (which would obviously be really distasteful), but because vampires don’t like werewolves. When Jacob calls Edward “bloodsucker,” it’s a literal description, not a Marxist critique. When Edward calls Jacob “dog,” it’s because he grows fur and runs around on all fours not — despite all appearances — because it’s a racial slur.

Ultimately, of course, the dog lies down with the bloodsucker; the alabaster prince and the dusky gardener both love Bella so much that they set aside their differences to defend her. Social harmony descends on a world which never had any class antagonisms to begin with. A triumph of tolerance and goodwill? Well, maybe not. Certainly, to see the same old idiocies revived and venerated under a thin PC patina is irritating. How many generations are girls going to be waiting for their prince, anyway? And when exactly are we going to stop shamelessly exploiting the minorities just so that we can tell ourselves how sexy they look down there on the dung heap where we have so summarily deposited them?

But, on the other paw…there is something to be said for that thin patina. If there are stupid fantasies to be disseminated, maybe it’s better to have them be clearly labeled as fantasies. Edward’s not a prince; he’s a vampire. Jacob’s not out of control because he’s an Indian, but because he’s a werewolf. That’s no doubt splitting hairs (as it were) — but those are hairs that I’d as soon see split as not. If there’s one thing that romance consistently tells us, after all, it’s that differences matter.