Anti-Russia / Anti-Soviet Propaganda Abounds – Even in Horror Films!

I came across a couple of films recently on Netflix. They caught my eye for two reasons: Because they are horror films (which I quite enjoy) and also because the plot and setting of both films had to do with the former Soviet Union, and by association, especially in the mind of woefully ignorant Americans, Russia at the present time. Beware, the following reviews contain spoilers.

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by Joseph Waters


[dropcap]T[/dropcap]he first film, Entity (2012), is a ghost story filmed partially from the point of view of a reality show. The story is about the English crew of a paranormal investigation TV show (“Darkest Secrets”) that goes to Russia to investigate a remote forest area where dozens of bodies were found, apparently having been executed. Led along by their Russian guide and also by a psychic who is able to communicate with the dead, the crew eventually wind up at an abandoned facility hidden deep within the Siberian forest. They came to Russia to try to make contact with the dead found in the mass grave in the forest, but the real action happens when they get to the deserted building that turns out to be a very haunted research facility / concentration camp where, they begin to discover, the Soviets brought psychics and other paranormally gifted individuals in order to study them and figure out a way to use their powers in the cold war; by means of “remote viewing” or whatnot.

Before I even watched this movie, one thing jumped out at me right away; that was the “N” in Entity spelled backwards on the movie poster, apparently in order to make the title of the film somewhat resemble the Russian Cyrillic alphabet. It’s not hard to imagine the reason why this is done (and it’s done a lot). The reason is quite obviously to communicate a sense of the foreign and play on xenophobic fears. Americans, more than any other group of people, have been conditioned to fear, despise and condescend all things foreign, but nothing so much as Russia and Russians. This particular nationality is perpetually portrayed as either being excessively stoic (devoid of human emotion), sinister, duplicitous, oafish and even as cold-blooded monsters. Both of the films highlighted here are no exception.

In brief, in Entity you have the Siberian forest, a haunted Soviet concentration camp (the concentration camp theme is consistently used to conflate the Soviets and the Nazis) where torture and human experiments take place and a duplicitous Russian fellow. What could go wrong?


The nonstop demonization of communism makes any rational person wonder: if communism was a system that was essentially self-defeating and unequivocally evil, why do we need to be constantly reminded of that, and so eagerly encouraged to hate it?horiz-black-wide

 Screen Shot 2015-08-23 at 9.56.00 AM[dropcap]S[/dropcap]cintilla (2014), renamed The Hybrid, takes place in a former Soviet Republic where foreign mercenaries are sent on a secret mission to recover genetic material of an alien-human hybrid. They make their way past sadistic and psychotic Russian militias (there’s a civil war going on) to an underground bunker containing the top secret Soviet-era laboratory where the genetic material can be found. It turns out that Soviet scientists recovered alien DNA from a meteorite and fused it with human DNA to attempt to create (what else?) a hybrid race of super-soldiers. In the underground research lab we encounter a bust of Stalin and a portrait of Lenin where he seems to be dressed in drag, or else kitted out like a punk rocker; mockery remains an oft-used and effective propaganda device to denigrate an enemy target. However, the head researcher that the mercenaries encounter in the subterranean realm turns out to be British. Why British?

This film was a Swedish production, but American films especially have always had foreigners (non-Americans) play the part of villains. In this case, when you want a sophisticated, intelligent villain you need an actor who will speak the “Queen’s English.” For a more grungy and sadistic villain you could use an Arab/Muslim, a Latin American or, of course, a Russian. But, back to the matter at hand – the demonization of communism and Russia more generally – it makes one wonder, if communism was a system that was essentially self-defeating and unequivocally evil, then why do we need to be constantly reminded of that, and so eagerly encouraged to hate it?Screen Shot 2015-08-22 at 7.41.15 PM

Joseph Waters is a political activist. He operates the blog, Proletarian Center for Research, Education and Culture (Prole Center).


FACT TO REMEMBER:
IF THE WESTERN MEDIA HAD ITS PRIORITIES IN ORDER AND ACTUALLY INFORMED, EDUCATED AND UPLIFTED THE MASSES INSTEAD OF SHILLING FOR A GLOBAL EMPIRE OF ENDLESS WARS, OUTRAGEOUS ECONOMIC INEQUALITY, AND DEEPENING DEVASTATION OF NATURE AND THE ANIMAL WORLD,  HORRORS LIKE THESE WOULD HAVE BEEN ELIMINATED MANY YEARS, PERHAPS DECADES AGO.  EVERY SINGLE DAY SOCIAL BACKWARDNESS COLLECTS ITS OWN INNUMERABLE VICTIMS. 

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BOOKS: BUTTERFLY PRISON

REVIEW OF THE NOVEL “BUTTERFLY PRISON” BY TAMARA Pearson

  • Paperback: 348 pages
    Publisher: Open Books (August 18, 2015)

By Andre Vltchek

butterflyPrisonThen suddenly, the stories begin to interconnect, intertwine, and the novel gains speed. Real pain – deep and overwhelming – emerges. Profound hurts, bitterness and injuries are slapping the faces of the characters, and somehow, we are drawn in and begin suffering with them.

It is Australia that we don’t know; that we are not supposed to see. After some 40 pages I thought, “it feels a little bit like Carpentaria”, but then, just a few pages later, it did not feel like anything else, it only felt and read like the “Butterfly Prison”.

“Then they dreamed the same dream. The whole world had been stolen, and people tumbled about on it like hungry and lost refugees in a foreign land. All spaces seemed to be owned by private companies. And the world had fences in strange places. And many long walls.

Paz couldn’t move, and his real leg jerked as though he had fallen down stairs. Mella murmured. In the stolen world they walked carefully, trying not to upset anything, like visitors. Because it wasn’t their home. Barbed wire between their toes. They bumped into another wall and got a new bruise, and it seemed that there were bluebruised people everywhere discovering new walls.

A queue then to buy back a bit of the world: a little bit of space for $2.5 million, so they could have somewhere to sit down. But they had no money, so they walked and walked and bumped into walls.”

“A stolen world”! That could easily be the second title of the novel.

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“Instead of explaining Latin American revolutions to Australian people, she depicted an Australian reality through the eyes of a Latin American revolutionary…”

tamara_pearson

[dropcap]T[/dropcap]She is a person who spent several years fighting for the Latin American revolutions, for “the process”, first in Venezuela and then in Ecuador. She gave everything to the revolution, never looked for privileges, and never demanded special treatment. She is pure and she is really strong. She saw it all, from the bottom, from the angle of real people.

When she told me that she wrote a novel, I was almost certain that it would be about South America, based in Venezuela, Ecuador or Bolivia.

But Tamara decided to write about Australia, about her complex homeland.

We sat in a Vietnamese restaurant in Quito, Ecuador, when she said, simply:

“After all these years, it is time to go back; to visit Australia… I am scared.”

But she already went back. Butterfly Prison is her great return home. Instead of explaining Latin American revolutions to Australian people, she depicted an Australian reality through the eyes of a Latin American revolutionary.

An oppressed and humiliated woman, a child living in hopelessness, adults with no future, a chocking and merciless consumerism, a country that already reached its zenith but without managing to bring zeal, enthusiasm and happiness to its people: those are some of many images of Australia that will stay in our sub-consciousness after reading the “Butterfly Prison”.

Australia – the land where native people were robbed of everything and where they are, until now, living in appalling destitute. Australia, which belongs to the elites; Australia where one has to comply with the ruling-class narrative, or to be crushed and humiliated.

Tamara told me why she wrote the novel, “The Butterfly Prison is life and soul wrenched out and turned into a tale, as a way of saying some things that need to be said – of screaming them in fact. It is unravelling dominant ideas so that beauty, for example, can be what it really is, and we can get some hope from that. Its my grain of sand of solidarity with so many others who have been made invisible in different ways, and I hope that it can reach some of those people and connect with them in that magical way that stories do, and even inspire them.”

In this, she definitely succeeded.

The Butterfly Prison is filled with compassion and solidarity. It is also full of beauty: not that cheap sentimental beauty of the popular literature of the 21st Century, but of profound, lasting beauty found only in life itself, and in the great works of art.

Two lives of Tamara PearsonPearson have merged in one powerful novel: one of her childhood and sadness of her native land, Australia, and the other, that of her epic battle for better world which she has been fighting for many years in Latin America.

As the novel progresses, it  becomes fully international, with many stages built into its pages: those in India, Venezuela, Bolivia, and Argentina… The battles rage… But at closer look, there is really only one battle: that for our humanity, for human dignity, and for human kindness.

Life, as temporary as a kiss on a cheek: already gone, but a little tingle that lingered behind. Mella thought of the things people of her generation had grown up to believe would last forever: countries, poverty, and capitalism. Yet all those things were gone now. Nothing was forever, nothing was so powerful, except for change. 

Now a Latin American writer, or more precisely “an internationalist” writer, a socialist realist, a revolutionary, Tamara Pearson, returned home, on the wings of imagination, through her powerful novel “Butterfly Prison”, uniting several realities into one. She demands change and she does it determinedly but affectionately. And the result is stunning.

*

The Butterfly Prison on Amazon, in print, kindle edition, from the publisher’s website, and more about the book from the author’s website.


Indonesia – The Archipelago of Fear”. Andre is making films for teleSUR and Press TV. After living for many years in Latin America and Oceania, Vltchek presently resides and works in East Asia and the Middle East. He can be reached through his website or his Twitter.

pale blue horiz

FACT TO REMEMBER:
IF THE WESTERN MEDIA HAD ITS PRIORITIES IN ORDER AND ACTUALLY INFORMED, EDUCATED AND UPLIFTED THE MASSES INSTEAD OF SHILLING FOR A GLOBAL EMPIRE OF ENDLESS WARS, OUTRAGEOUS ECONOMIC INEQUALITY, AND DEEPENING DEVASTATION OF NATURE AND THE ANIMAL WORLD,  HORRORS LIKE THESE WOULD HAVE BEEN ELIMINATED MANY YEARS, PERHAPS DECADES AGO.  EVERY SINGLE DAY SOCIAL BACKWARDNESS COLLECTS ITS OWN INNUMERABLE VICTIMS. 

pale blue horiz

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BOOKS: Time of Exile

Kendall Mercer


PREFATORY NOTE 

IN DEFENSE OF THE POLITICAL NOVEL

TOE_HalfPage_300x600_REV[dropcap]T[/dropcap]IME OF EXILE, the third volume of Gaither Stewart’s Europe Trilogy, is a political novel. I see no reasons to conceal it or to feel shame. On the contrary.

Are the novels of Gabriel Garcia Marquez or Miguel Angel Asturias not political? And worthy of the Nobel Prize.

Of course one may say that those are not Anglo-American literature, but Latin American. Still, as if the novels of Graham Greene were not political. As if Hemingway’s best novels were not political. As if The Grapes of Wrath, All the Kings Men, and Catch-22 were not political novels.

Only fools and cowards can turn up their noses at the political novel in today’s world in which neo-liberals have created a huge economic crisis, in a world in which NATO blatantly organizes one aggression after another—against Yugoslavia, against Iraq, against Afghanistan, against Libya, against Cote d’Ivoire—overthrows disagreeable governments and installs in their place marionettes. That is, in a world governed by rotten politics.

It is stupid to turn up one’s nose at political novels today when works like Fifty Shades of Grey are foisted on you as the only alternative political prose.

You will not read intellectual-political prose but you read Shades of Grey. Then you unlearn how to read. Then how to think. You unlearn how to speak. You begin to bellow. You become part of the herd. And the same persons who organized the world economic crisis and aggression against Yugoslavia and Libya with a crack of the whip will drive you to the slaughter-house. They will make of you a cheap sausage of Fifty Shades of Grey.

—ALEKSANDR TARASOV
Writer, Sociologist, Historian, Literary Critic



 

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TOE-amazon-coverTime of Exile
A novel
(Volume 3 of Europe Trilogy)
By Gaither Stewart
Punto Press/ Trepper & Katz (2015)
374 pp

[dropcap]I[/dropcap]t has been said that history develops, while art stands still. That is to say, the recorded in some fashion or the other, true or falsified, world events, earth-shaking events, take place at a breath-taking pace around all of us. Meanwhile real art proceeds at its own pace, patient and observant, with one eye on the past and the present, the other peering toward the future. Novelists of yesterday and today deal with many historical events but all of them deal with those events differently than does the historian. The creative mind of the novelist will always see something different from that which the historian or the political reporter sees.

One says art stands still in the sense that certain aspects of the novel tend to remain the same in all ages, even though each artist will emphasize specific aspects in his own original way. In a series of lectures at Trinity College, Cambridge, in 1927, the distinguished English writer, E.M. Forster, listed what he considered the fundamental aspects of the novel: the story itself, the people, the plot, the fantasy of the writer and his prophetic vision, the pattern and rhythm of the writing style.

I considered these facets of the novel in my read of Gaither Stewart’s new novel, Time of Exile, the concluding volume in his Europe Trilogy, all three published by Punto Press, and concluded that the author had in fact dealt in close detail with each feature of the novel. The story itself is fascinating and reflects reality, his fantasy leaps from each page, his invention of the now renowned Edward Snowden before the appearance of Snowden himself is prophetic, and the story’s rhythm changes from line to line giving the novel its page-turner quality.

      However, as the literary reviewer I would add aspects that will not pass unnoticed by the alert reader. When dealing with the “people”, i.e. with his the broad and variegated cast of characters, the author does not simply create one or two well-rounded, multi-dimensional characters surrounded by a variety of flat one-dimensional characters. Instead, with rare exceptions each character, major or minor, are complex personalities engaged in the same interior monologue as the story’s major character, Elmer Redway, the young communications genius who deserts from the U.S. Army in East Europe and reveals to the world the nefarious activities of his nation’s leaders.

Although this is a story of dangerous adventure and fiery romantic love, which takes the reader to exotic locations across the face of Europe from Bulgaria, to Belgrade in Serbia, to Rome, to Istanbul and finally Berlin, Time of Exile is also a political story: the political awakening of Elmer, the 19-year old genius who leaves  MIT and joins the army to see the world. His political education begins there.

    A first lesson from his political mentor in Belgrade sets the tone of the political background for the entire novel:

“Elmer,” Mirko used to say, “your intercepts depict a nation gone mad. What else can you call a bully nation that threatens, blackmails, spies, kills and makes war of pure aggression? Were it not the lone superpower it would be considered a rogue state. It’s a sick nation, Elmer. Your America.”

“My America?” Elmer had protested.

“A sick people too. If they were half sane they would stop their government. If they want to, people can change things. Or they can choose to ignore laws and morality. If it wants to, America can see itself in a mirror. Just take a look. But from you they can learn what their diplomats and military are really doing and saying around the world. About their crimes. Elmer, they’re sick ….”

“An ignorant people, insane for war …. Record military budgets. Record arms sales. As if torture and murder and war crimes were insignificant! …”

“‘Now you personally have to pay for your gift to the media and to mankind which they instead call treason. Your life is on the line, Elmer. You’re on the run. You, the real patriot, a hero of our times.”

The characters of Time of Exile are permeated with a desire to do the world some good, a quote from John Keats whose grave together with that of Percy Shelley are in Rome’s Poets’ Cemetery novel where much of the novel’s action takes place. Elmer said he loved living near the two poets and on a street named Via Caio Cestio, with a pyramid around the corner, the pinnacle of which he can see from his living room.

I will conclude this glimpse at the riveting story of Time of Exile with an abbreviated version o the touching conversation between two professional bodyguards trained to kill who are standing in a crowded cemetery in Belgrade where the funeral of the man they were to kill but didn’t is taking place. Their talk digs into the very heart of the matter of good and evil that man faces in life.

The bugle fell silent. A barely perceptible human reflux began, floating through the mist, swaying slowly down the hill and toward them, a rhythmic mass motion, slowing, drifting over the gravel, and then deviating toward the two statuesque figures conversing intently in the center of the aleja of the New Cemetery.

“You know that Dostoevsky and Freud are my secret teachers, Roberto says. “Both describe as eternal the battle of your mind seesawing between reason and conscience and your psyche, your inner soul … or maybe your spirit. Maybe it’s the true self you’re searching for. I know you read the book I gave you in the jeep that day in Galata. Remember Nikolay, a minor character in Crime and Punishment? He feels guilt out of all proportion to his minor crime of the theft of a necklace. Because of his guilt-ridden consciousness he seems to seek a major crime of which to be guilty, one that will make of him a real criminal.”

“Yeah, I didn’t understand why he confesses to a crime he didn’t commit.”

“For him, guilt for a major crime is more tolerable than the intense pressure of the sort of abstract sinfulness arising from his subconscious. That’s why he confesses to a murder he had nothing to do with. And that same intense feeling of sinfulness in the real murderer’s subconscious brings about Raskolnikov’s confession that he killed the greedy moneylender. Guilt is the point. It takes a lot of courage and also sometimes skill—like ours, by the way—to kill a fellow human being. Now, in today’s now, you feel guilt for our potential crime, which, as it happens, we didn’t commit. So it’s not exactly the same thing as Raskolnikov’s quandary.”

“Still, I feel that something out of the ordinary has happened,” Gianluca confessed. “Is that guilt I feel? I suppose that’s the right word. We were one step away from the moment of truth … the decision to kill or not to kill. Doesn’t our uncertain intention count against us even though someone else did it in our place? In any case it seems instinct is in command everywhere. Is that right?”

“History shows us over and over that human instincts command too often. In the long run, at least. Reason tries to limit the damage caused by our worst instincts but over time reason loses ground. Look what happened here in Belgrade. They killed a man because of his reason.”

Gianluca sighed. “I obviously don’t know myself and if I don’t know myself, then others can’t even begin to know the real me. Not you. Certainly not Serena. I’ve felt lonely all my life … because no one knows me.”

“That’s normal, Luca,” Roberto said gently, placing a hand on his friend’s arm as if to reassure him that he was not alone. “That’s the reason for all the incommunicability in the world. The isolation in which each of us lives. Then, few people take the time for self-examination. We’re all too busy showing off superficial facets of our selves.”

“That describes me in a way. Divided into many different pieces.”

“Still, Luca, if your mind could penetrate your unconscious—drill down to the core to the real you—in order to understand your instincts, you would become one whole person. That’s what psychology is all about.”

“You mean my mind and my unconscious would become one?”

“At least to the degree that reason would command you, not your instincts. Instead, you and I haven’t seen that happen anywhere. In our world men are still like wild beasts. Ours is a world in which instinct commands. Instinct, independent of reason. Not the same instincts as eating and sex, but instincts to dominate … and sometimes to kill. That same conflict between reason and instinct goes on throughout the whole human race. Still, since the murder of Kasun hasn’t killed his idea of a Serbia outside NATO, a certain morality survives.”

“Do you really think so?” Gianluca muttered

The crowd had thinned out and vanished through the great gate and out into the misty noon in the city. Sunrays touched the gravel pathways here and there. Roberto touched Gianluca’s arm again and nodded toward the now sun-soaked sloping hill on the opposite side of the walkway. A small herd of sheep moved over the crest of the hill followed by two lambs trying to keep up. “The innocent ones,” Gianluca said, the image of his mother and the ‘innocent lamb’ about which she sometimes spoke vivid in his memory.

Roberto let his hand rest on his friend’s arm.

“If I can’t ask her then I would like to confess to a priest … and ask for forgiveness.”

“For absolution, you mean,” Roberto murmured. “But from a priest who is no less guilty than you? If you list all the good and the evil the priest does, he too comes out guilty.”

“Roberto! Then what you’re saying is that everybody is guilty. Even my mother! And Serena too. That’s terrible, Roberto. Terrible. Then there’s no one to absolve us … for our presence here?”

Roberto sighed.

“That’s the way it is in life, Luca. A seesawing back and forth between regret for our acts and hope for forgiveness … and somehow, someday, redemption.”


Kendall Mercer is a veteran reader of political thrillers. He has read all of Graham Greene’s, John le Carré’s, and Gaither Stewart’s books. He now regards the latter as superior to the other two, given his novels didacticism. Mercer lives in Whidbey Island, WA.

pale blue horiz

FACT TO REMEMBER:
IF THE WESTERN MEDIA HAD ITS PRIORITIES IN ORDER AND ACTUALLY INFORMED, EDUCATED AND UPLIFTED THE MASSES INSTEAD OF SHILLING FOR A GLOBAL EMPIRE OF ENDLESS WARS, OUTRAGEOUS ECONOMIC INEQUALITY, AND DEEPENING DEVASTATION OF NATURE AND THE ANIMAL WORLD,  HORRORS LIKE THESE WOULD HAVE BEEN ELIMINATED MANY YEARS, PERHAPS DECADES AGO.  EVERY SINGLE DAY SOCIAL BACKWARDNESS COLLECTS ITS OWN INNUMERABLE VICTIMS. 

pale blue horiz

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Where Naomi Klein Falls Short on Capitalism and Climate Change

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“Capitalism™” (Talk Bright/ cc-flickr image, 2006)

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waywuwei/ “Capitalism IS the Crisis”/Taken  May 25, 2013, march from Union Square to Washington Square New York, NY// cc-flickr

Her failure in that regard is not unique. So do other notable commentators, like Chomsky and Chris Hedges, both in what we might call the liberal-left/social democratic sphere, and the problem seems to be an aversion to condemning the system in toto, intrinsically, and without qualifiers. The upshot, as Schechter notes, joined in his complaint by other perceptive observers in the same thread, like Tom Baldwin, Kathleen Bushman, Chris Driscoll, et al, is to leave the door open for a reformist approach to capitalism, as if it were a curable disease, which it isn’t. Capitalism as the dominant paradigm of our age is not evil because it’s been mismanaged by bad or incompetent people. What we face in economics, social policy and foreign policy—a warmongering, sociopathic and totalizing imperialism— are not aberrations, but the logical outgrowths of a system predicated on a selfish matrix of society in which proprietary acquisition is unbound and normative. Thus capitalism is simply doing what it inexorably does given its core dynamic. As a system of social organization, capitalism is unique, a rampaging cancer, today a global cancer, and there’s no hyperbole in that.


Schechter, addressing Chris Hedges notorious vacillations and profuse use of softening adjectives to define capitalism, pretty much sums up our position in this excellent (and so typically precise) summation:


(a) capitalism always becomes unregulated and unfettered, and so we need to end capitalism, or,






BY ERIC SCHECHTER
“Klein deserves enormous credit for putting capitalism in the dock. Yet she leaves too much wiggle room for capitalism to escape a definitive condemnation.”

Because of things Naomi Klein had said about the book she was writing, I awaited it eagerly for years. And on the first day that it became available, I eagerly downloaded a copy and gobbled it down, and I’ve had indigestion ever since. Or, changing metaphors slightly, I’ve been in a love-hate relationship with that book. And I’ve been trying to explain why, and haven’t entirely succeeded. Klein collects lots of material showing how capitalism is making our planet uninhabitable, but she never quite gets around to analyzing capitalism itself and showing that it is inherently ecocidal. Such an analysis need not be long or complicated. David Suzuki did it quite well, in his four-minute video titled “Externalities,” and most of the four minutes was just devoted to pictures without any words at all. Okay, maybe Suzuki should have added an actual definition of “externalities,” but that only would have required another sentence or two.

Anyway, a couple of days ago Sam Gindin posted a fairly good, medium-length review of Klein’s book on Jacobin Magazine. Deserves to be read.


When History Knocks

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Klein at the lectern during one of her book tours. (Sept. 6, 2007). Photo: Sandy Kemsley, flickr.//cc

[dropcap]Naomi Klein[/dropcap] is a longtime movement and media icon, a gifted synthesizer and popularizer who, over the past two decades, has been a leading chronicler of anti-corporate, anti-globalization, and anti-capitalist social movements (a series of “anti”s that undeniably needs some unpacking).



Who else on the Left gets a sympathetic interview on the evening news of Canada’s publicly owned television broadcaster before the release of her latest book? And who else, as a preview of that book, is immediately given a chance to explain to a national audience why, from the perspective of the environment, capitalism is “the main enemy?”

Klein’s writings and talks have provided “the movement” with needed context and coherence, and served as a conduit and catalyst for discussions, contributing to its recruitment and growth. Her new bookThis Changes Everything: Capitalism vs. The Climate, is the climax of her highly influential trilogy and also registers how much her perspective has changed over the last fifteen years.

This shift centers on both her assessment of the movement — more than ever before, Klein expresses frustrations with the movement she is part of and still sees as fundamental to social change — and her deeper appreciation of capitalism “as the main enemy.” On this latter point, her earlier criticisms of particular aspects of capitalism have now expanded into suggesting — or at least coming very close to suggesting — that capitalism has become the central barrier to human survival and progress.

Klein’s trilogy began with No Logo, which came out in 1999 and exposed the manipulative and exploitative underbelly of consumer culture. Fortuitously published amid the Battle of Seattle protests against the World Trade Organization and later branded the “bible of the anti-globalization movement,” No Logo built on the moral crusade across university campuses against the corporate use of sweatshop labor for that culture. But it mistakenly separated supposedly “good” and “bad” corporations, obscuring the larger social system in which these companies lived and acted.

Klein’s second major bookThe Shock Doctrine: The Rise of Disaster Capitalism also arrived at a propitious moment: in 2007, just before the financial implosion and the most dramatic economic crisis since the Great Depression. This time Klein chronicled how corporations and capitalist states pounce on the opportunities provided by man-made or natural crises to “ram through policies that enrich a small elite.” In this case, though, the focus on crises underplayed what capitalism does between crises.

Again displaying a penchant for well-timed releases, Klein’s This Changes Everything reached bookstores two days before October’s massive Climate March in New York City. Here it is no longer capitalism’s bad apples that are the focus, nor capitalism’s ability to use crises against us, but the organizing principles of the system itself — and the environmental consequences that follow. “[O]ur economic system and our planetary system are now at war,” Klein writes, “and it’s not the laws of nature that can be changed.”

In characteristically accessible language, Klein summarizes the alarming scientific consensus on climate change. But the significance of This Changes Everything doesn’t lie in Klein’s detailed and passionate description of the urgency of the environmental crisis. Rather, its importance lies in Klein’s determination to demonstrate that changing our relationship to nature is inseparable from changing our relationship to each other — by “transforming our economic system” (I’ll return later to ambiguities in how this is interpreted).

The immediate threat to the earth “changes everything” in the sense that just adding “the environment” to our list of concerns is not good enough.

The sheer scale of the problem necessitates a politics that can take on capitalism. We must do away with any notions, Klein asserts, that the environmental crisis can be contained and eventually rolled back through policy tinkering (though addressing symptoms is necessary); technical fixes (though sensible technological advances should be vigorously pursued); or market-based solutions (no qualification necessary — it’s silly to expect the market to solve problems it was instrumental in creating). Something far more comprehensive is required.

To emphasize this, however, is not just to expose the painfully inadequate solutions of the Right, but also to ask the hard questions of the environmental movement. As important as the movement has been to placing the issue on the agenda and bringing young people in particular into the struggle, its organizational forms simply do not match what we are up against. After decades of engagement, the environmental movement remains relatively marginal, capable of slowing down this or that trend but not of reversing and correcting capitalism’s reckless trajectory.

Klein is especially critical of those sections of the movement that jumped on the “green capitalism” bandwagon in the 1970s. In a pattern eerily reminiscent of the bureaucratization of unions that environmentalists once held up as the antithesis of their own politics, their environmentalism

stopped being about organizing protests and teach-ins and became about drafting laws, then suing corporations for violating them, as well as challenging governments for failing to enforce them. In rapid fashion, what had been a rabble of hippies became a movement of lawyers, lobbyists, and UN summit hoppers. As a result many of the newly professionalized environmentalists came to pride themselves on being the ultimate insiders, able to wheel and deal across the political spectrum.

Klein goes on to point out that “so long as the victories kept coming, their insider strategy seemed to be working… Then came the 1980s.” Again paralleling the labor movement, capitalism’s turn to neoliberalism exposed the extent to which the environmental movement had become a paper tiger, able to maneuver somewhat within the system, but without the capacity for independent, sustained mass mobilization.

Yet beyond exposing this orientation, we also need to ask what, beyond the opportunism of access to resources and entry into the inner circles, accounts for the eventual betrayals of these former idealists.

How much of a factor in looking for easy fixes was the mix of extreme urgency honestly felt and an awareness of the limited impact of sporadic demonstrations? To what extent was the movement’s vulnerability to co-optation on the one hand, and exhaustion and retreat on the other, linked to having no broader vision beyond the environment and little or no strategic plan for truly challenging power?

These are, of course, not just questions of history but have immediate relevance. And they also challenge that part of the movement that didn’t sell out but remained loyal to their original principles. As much as Klein puts her hope in this latter group, she also — to her credit — admits to frustrations with key aspects of its strategic orientation. She makes two overlapping points here, one organizational, the other strategic.

First, there is the tendency of many in the movement to mistakenly identify structures themselves as part of the problem. There is no going forward, however, without the most serious development of institutions that can deal on a mass scale with resources, coordination, generational continuity, leadership development, outreach, popular education, and, especially, the accountability structures to make complex and difficult collective choices and to keep wayward leaders in check.

As Klein writes, “The fetish for structurelessness, the rebellion against any kind of institutionalization, is not a luxury today’s transformational movements can afford… Despite endless griping, tweeting, flash mobbing, and occupying, we collectively lack many of the tools that built and sustained the transformative movements of the past.”

This reluctance to do deep organizing and institution building, again similar to the labor movement, has contributed to series of defeats since the early 1980s. And those defeats have engendered a failure of imagination, inseparable from the fading of worldviews and structures that bring confidence to and sustain collective work.

Second, Klein insists that the struggle against climate change cannot be won by fear alone. “Fear is a survival response. It makes us run, it makes us leap, it can make us act superhuman. But we need somewhere to run to. Without that, the fear is only paralyzing.” (It might also be added that fear can produce support for the immediate nostrums offered by green capitalism).

Similarly, though the issue of consumerism must be taken on, simply calling for a more austere lifestyle only reinforces the austerity pushed by capitalist states. The issue is not just living with “less” but living differently — which can also mean better.

It is about an alternative society. And to the extent that some sacrifices are indeed necessary, these must involve both a radical equality of sacrifice and one that sees such sacrifices as “investments” in transforming society, rather than concessions to preserve capitalism.

To the uncomfortable question of “how can we persuade the human race to put the future ahead of the present,” Klein borrows from Miya Yoshitama and answers “you don’t.” Instead you act on the presumption that “if there has ever been a moment to advance a plan to heal the planet that also heals our broken economies and shattered communities, this is it.”

And so you point to a long series of issues directly linked to the environment — housing, transportation, infrastructure, meaningful jobs, collective services, public spaces, greater equality, and a more substantive democracy — and work to convince people that “climate action is their best hope for a better present, and a future far more exciting than anything else currently on offer.”

In contrast, the mainstream environmental movement, Klein laments, “generally stands apart from these expressions of mass frustration, choosing to define climate activism narrowly — demanding a carbon tax, say, or even trying to stop a pipeline.”

Building a non-parochial, mass movement against climate change isn’t about de-emphasizing the central importance of the environmental crisis but of thinking about it politically and in the context of wider values. Such a mass movement needs to forge its own common sense, structures independent of capital, and the energy and staying power that comes with a realizable, if distant, vision.

Once we appreciate that the scale of the climate change issue references not just how much needs to be done in environmental terms, but what needs to be done to transform society, we are at a new, even more intimidating, stage. We’ve added the need to take on capitalism and must be clear about what this means.

Klein deserves enormous credit for putting capitalism in the dock. Yet she leaves too much wiggle room for capitalism to escape a definitive condemnation. There is already great confusion and division among social activists over what “anti-capitalism” means. For many if not most, it is not the capitalist system that is at issue but particular sub-categories of villains: big business, banks, foreign companies, multinationals.

Klein is contradictory on this score. She seems clear enough in the analysis that pervades the book that it is capitalism, yet she repeatedly qualifies this position by decrying “the kind of capitalism we now have,” “neoliberal” capitalism, “deregulated” capitalism, “unfettered” capitalism, “predatory” capitalism, “extractive” capitalism, and so on. These adjectives undermine the powerful logic of Klein’s more convincing arguments elsewhere that the issue isn’t creating a better capitalism but confronting capitalism as a social system.

This ambivalence is compounded by Klein’s overemphasis on ideology as a driver of social change. The dispute here is not over the relevance of ideology, but the unmooring of ideology from its context.

That Friedrich Hayek and Milton Friedman were largely ignored in the postwar years then idolized in the 1980s was not because the strength of their arguments won converts but because contradictions in capitalism and shifts in the balance of class forces placed a more aggressive capitalism on the agenda, which opened the door to these waiting ideologies.

It is one thing to stress popular education and our own ideologies and common sense as part of taking on structural power in our societies; it is another to think ideology is all and underestimating what needs to be done (or at the extreme, naively converting the struggle from below into winning elites over to our ideology).

Capitalism does of course vary across time and place, and some of the differences are far from trivial. But in terms of substantive change, we should not overstate the importance of these disparate forms. Moreover, such differences have not increased but contracted over time, leaving us with a more or less monolithic capitalism across the globe.

It is not just that any capitalism is inseparable from the compulsion to indiscriminate growth, but that capitalism’s commodification of labor power and nature drives an individualized consumerism inimical to collective values (consumption is the compensation for what we lose in being commodified and is the incentive to work) and insensitive to the environment (nature is an input, and the full costs of how it is exploited by any corporation are for someone else to worry about).

A social system based on private ownership of production can’t support the kind of planning that could avert environmental catastrophe. The owners of capital are fragmented and compelled by competition to look after their own interests first, and any serious planning would have to override property rights — an action that would be aggressively resisted.

As Klein notes, even countries that have spoken out against extractivism — in response to pressure from indigenous environmentalists — have found themselves compelled by the options capitalism offers to mine and sell as much of whatever their soils offer.

As for the Global North using its technology and wealth to expand the options in the Global South, this kind of solidarity would imply both a cultural transformation in the North and direct control over technology and social wealth so global redistribution is possible — each of which can only be imagined in a post-capitalist society.

There are some who, seeing the limits of capitalism in our time, turn to examples from the romanticized postwar era. But it was during the Keynesian welfare state period that freer trade made its great leap forward, multinational companies (MNCs) began their global expansion, finance — benefitting from the growth of mortgages and pensions and following MNCs abroad — saw its first wave of explosive expansion, radicals and their ideas were marginalized, and consumerism spread to the working class.

Furthermore, it is hard to miss the fact that capitalists and capitalist states have long lost interest in that earlier era which, for all its limits, still imposed too many barriers on the drive for profits. It is capitalism— not a qualified capitalism, but really existing capitalism and the only capitalism on offer — that “is the main enemy.”

It is crucial to be clear on this point, because if we conclude that the environment can’t be regenerated under capitalism, then it is this that becomes the great game-changer. It is one thing to ask how we can organize ourselves better to register our dissatisfaction and to pressure or lobby corporations and states to modify some of their ways withincapitalism. It is quite another to conclude that we must organize ourselves for the far more ambitious task of replacing this powerful system.

We need to fight as hard as possible for reforms that limit environmental damage, but such a battle for reforms must be used to build a movement that can eventually take us beyond capitalism.

With the task of transforming capitalism so daunting and the environmental crisis so urgent, some might suggest we rethink our argument and retreat into a broader environmental alliance that includes sympathetic elites, even if it means sacrificing other goals such as equality and even democracy. This, it should by now be abundantly clear, is no option at all; it can only mean a return to a discredited green capitalism.

Such a concessionary strategy would undermine our base while doing little to ward off climate change. “Enlightened” elites won’t take kindly to undermining capitalism’s institutions, so currying their favor is foolhardy. Pre-emptive disarmament will only ensure that elites try to save themselves at our expense. We have no choice but to get on with it, no matter how overwhelming the undertaking.

Klein doesn’t supply us with an alternate strategic blueprint, but it’s hard to fault her for the omission — visionary “recipes” for “cook-shops of the future” have long been in short supply on the Left. This Changes Everything is still Klein’s best and most important book. It is a contribution to getting us going in the right direction. It doesn’t shy away from soberly reflecting on the state of the movement, presents some crucial insights for moving ahead, and invites — even if sometimes ambiguously — the broadest discussion on what needs to be done and the necessity of rethinking how to do it.

At the end of her book, Klein is about to interview the youthful head of Syriza, the radical Greek party now on the brink of taking power. She asks a Greek comrade what she should ask him, and the person answers: “Ask him: When history knocked on your door, did you answer?” As Klein concludes, “That’s a good question for all of us.”


 CREDITS

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SAM GINDIN (Verso Books)

Sam Gindin is a Canadian academic and intellectual who served as research director of the Canadian region of the United Auto Workers (UAW) union and later as chief economist and Assistant to the President of the Canadian Auto Workers (CAW) union after the latter became independent from its American parent organization.

Gindin is a graduate of the University of Manitoba. He worked as a research officer for the New Democratic Party of Manitoba and later taught at the University of Prince Edward Island. He obtained his MA in economics from the University of Wisconsin–Madison, but while working on his PhD dissertation in 1974, he took up the position of first director of research for what was then the Canadian section of the UAW. He rose within the union and served as an assistant to both Bob White and Buzz Hargrove, where he participated in major collective bargaining, the formation of union and social policy, and strategic discussions on the structure and direction of the union. He also wrote a book on the history of the CAW entitled The Canadian Auto Workers: The Birth and Transformation of a Union.

In 2000, Gindin retired from the CAW. He joined the faculty of York University in the Political Science department as Packer Visitor in Social Justice, where he continues to teach.  Gindin frequently collaborates with Leo Panitch.


 

A former professor of mathematics, Eric Schechter is a senior contributing editor to The Greanville Post and a full time activist for social change. 

Cyrano’s Journal Today. 




 

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Andre Vltchek: Point of No Return

Book Reviews

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Michael Schiffmann


 

[dropcap]W[/dropcap]ith his work Point of No Return, the journalist, documentary filmmaker and author of numerous books on the repercussions of Western imperialism Andre Vltchek engages in a risk that has become rare these days, namely, to write an explicitly political novel. And what is more, he succeeds in doing so in a very impressive way.

On the canvas of a strongly autobiographical background, Vltchek develops the arresting story of a politically committed war reporter, his alter ego Karel, a man coming from Czechia in Eastern Europe but living in exile in Latin America and frantically traveling the continents “to learn, to see, and to write,” always in the attempt to make the terrors and revolting conditions experienced in the process public and to contribute to over due change thereby.

The free-floating existence of a war correspondence who has no firm roots anywhere, who is here today and there tomorrow and who doesn’t only market the suffering and pain observed in the process, but also regularly exchanges it for the suffering of other victims of course in- vites cynicism, and this cynicism is lurking in the background of even Karel:

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The story plays out in Peru, Egypt, Israel/Palestine, Indonesia, and in cities such as Lima, Paris, New York, and Tokyo, which can be seen a reflection of the restless life of Vltchek himself who, according to himself, has traveled more than 150 of the 200 countries of the earth. But before long, we recognize how, behind the permanent haste, the continuous change of location, there are evident deep convictions of the protagonist, a deep relation to and a deep sympathy for the exploited, oppressed, and gagged majority of the world population with whom his job brings him into permanent contact.

In the process, we are witness to many unforgettable scenes, for example, his encounter with an old Palestinian man and his donkey right at the beginning of the book, where the animal has become the only friend of the im- poverished man and is now the beneficiary of the man’s solidarity, even though it has long lost its economic utili- ty, or conversely, when a mob of Indonesian “Christians”

barbarically slaughters a defenseless boy because he is a “Muslim,” and when the aggressors, as always with religious, ethnocentric, racist, nationalist acts of barbarity, pose as the victims mercilessly driven to the wall and never given a chance: “We had to do it! The others didn’t leave us any other choice!”

In the world confronting Karel, those profiting from the injustice and the oppressors servicing them are of course despicable, but on the other hand, their victims are not necessarily decent and good. But even so, the suffering of those who are condemned to a permanent victim status by our world system of economic coercion is both unbearable and intolerable.


 

As befits a mature observer of the human condition, Vltchek does not draw flat, antipodal, moral characters nor does he reduce real people to the level of mere pretexts serving brave political analyses. His villains are contemptible, but the victims are not necessarily paragons of virtue.


What prevents all of this from descending into bare political analysis or sentimental social kitsch are the authentic relations Karel enters into despite his deracination: with his “ideal woman” Reiko (who he, different from his countless girl-friends, loves), with his revolutionary friends in Latin America, and even with an accidental internet acquaintance Hanan in Jordan, whose correspondence with him begins with the announcement of a suicide attack against the “Jewish dogs,” but later ends with suggestions on the part of Karel for effective masturbation without destroying virginity.

Characteristically, the editor of Karel‘s magazine, The Weekly Globe, invokes the usual litany that of course he himself loves the work of his journalists, but that “the public simply doesn’t understand the message.” Even Karel’s relationship to Reiko, a woman belonging to the Japanese upper class, is in danger of failing in the face of her literal consternation once she becomes aware of his political commitment: “Are you a terrorist, Karel? Are you a Communist?” she asks him, after he tells her the tragic story of his girlfriend Ana, who had been killed during an assault by the Peruvian “Shining Path.”

Ana’s is not the only death lining Karel’s way; Ana’s and Karel’s mutual friend meets his end by suicide, an Italian countess, who out of boredom travels right into the midst of a civil war, dies a grotesque death as a “martyr of the people,” and some off Karel’s sources, as, for ex- ample, the forcibly married wife of an officer of the Indonesian occupation army terrorizing East Timor, are living in such a great danger that in fact nobody can know whether, at the time when Karel’s reports finally appear, they will still be alive.

But despite all the terror and despite somber analyses about the battle between “market fun- damentalists and religious fundamentalists” being the main contradiction of our time, Vltchek’s novel projects the same desperate hope that once emanated from Man’s Fate by André Malraux or To Whom the Bells Toll by Ernest Hemingway, and it is presumably not by accident that French critic Catherine Merveilleux has compared Vltchek with these very same authors. And as a matter of fact, Vltchek evokes strong memories of them, but not just because of his reawakening of the buried tradition of political fiction, but also because of his immense narrative talent.

There has also been ample praise for Vltchek from someone who, up to now, has rarely figured as a literary critic, namely, Noam Chomsky: “Andre Vltchek tells us about a world that few know, even when they think they do. That is because he tells the truth, vividly, with a keen sense of history, and with a percep- tive eye that sees past surfaces to reality.” Just like authors as Dan Chodorokoff, Ron Jacob, and others, Andre Vltchek is turning another chapter in the history of American literature.


 

Andre Vltchek: Point of No Return, Mainstay Press 2013, 348 pages.

Contact: Michael Schiffmann * In der Neckarhelle 72 * 69118 Heidelberg * 06221-800313 * mikschiff@t-online.de


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