Moody Speculative Cosmology

Critical Inquiry on Frank Chouraqui’s exceptional tr. of Blanqui’s Eternity by the Stars.

A crucial tome for Benjamin, Borges, & Sebald, to name but a few.

“our understanding of Blanqui stands to be permanently altered by Contra Mundum’s new English translation of Eternity by the Stars, a moody speculative cosmology he wrote while imprisoned at the Fort du Taureau in the early days of the Third Republic.” — Andrew Pendakis

Read the full piece here

 

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Moody Speculative Cosmology

Blanqui: review & interview

From the interview with translator Frank Chouraqui:

Q: Though Blanqui avoids ethics throughout Eternity by the Stars, it is possible to read it as implying an ethics suitable for a perennially unsuccessful insurrectionist. If there is no progress, only an infinity of worlds extending throughout time and space, then the locus of meaning cannot be the future effects of any action, but only the action itself. He has produced a valorization of his chosen struggle that is impervious to a thousand defeats, even to the certainty of permanent defeat.

FC: Yes, you put it in a very subtle manner, and the issue is very subtle. I think it is one of the main features of Blanqui’s vision that revolution is an end in itself, and yet, he keeps hoping for a political life that actually embodies, fosters, and protects universal brotherhood. The way you formulate this question reveals the potential tensions between these two projects, and they are the tensions at work in Eternity too.

The bottom line, I think, is: should we identify value with actuality? For Blanqui, this precludes revolution. Of course, the problem is now to identify value with revolution, but this precludes victory. For any victory would mean the end of revolution. 

If such is the case, it means that fueling revolution with such existing, crowd-moving aspirations as peace, justice, and brotherhood is a travesty, for all that revolution can offer is continuous strife. In this context, the cosmological view may seem to offer an alternative, for in Blanqui’s calculation, what we find is the identity of actuality and potentiality: all that is possible is actual. If this discovery is used powerfully, one can value revolution no longer for what it can lead to, but for the very fact that it exists.

The problem, of course, as Nietzsche pointed out, and many leftist thinkers since, is that the actual project of the revolution cannot be the same as the project of the masses, for the masses seek peace, and the revolution seeks strife. I don’t think Blanqui really ever came to a final position on the question. What we can say—and it is already quite a lot—is that he embodied the question in ways that stand in themselves as a contribution to radical thought. His life poses the question that runs throughout radicalism: is any good politics a dead politics, a politics that exceeds human demands and therefore refuses to be contested from within? If given human aspirations must be taken into account, the answer will be yes. If revolution has a value superior to that of any human aspiration, no.”

Rolling Thunder (spring 2014) 121–127. Link to pdf of ToC. Full issue not accessible online.

Blanqui: review & interview

Counterpunch on Blanqui

“When the name of Louis-Auguste Blanqui is remembered now, it is either as in passing as one of the many French socialist and communist thinkers of the nineteenth century, or as an insult hurled at ultra-leftists. This is a disservice to a great and under-appreciated revolutionary. Hopefully, the release of the first English critical edition of Blanqui’s 1872 astronomical work, Eternity By the Stars (masterfully introduced and translated by Frank Chouraqui), can help rescue him from obscurity. Blanqui’s work is a heartfelt contemplation on the nature of universe and humanity’s place in it.”

 

Read the full review here: Doug Enaa Greene, “Despite it All,” Counterpunch (December 13–15, 2013)

Counterpunch on Blanqui

Transforming Revolution

My attitude towards 1968 — and especially the imbecility and pathetic commemoration which surrounds it — is all but nostalgic and benevolent. I certainly took part in the events of 1968, but was more of a supporting actor than a protagonist. Despite Carmelo Bene’s views on 1968 and the film he made, it is clear that 1968 in some way transformed a whole series of contents into forms of film and communication.
 
I myself had to find a way of making Lou Castel into a positive hero, a working class man who in some way opposed the middle class bourgeoisie. Carmelo Bene captured those rebel years in a quintessence of cinematographic originality. In this sense, his approach was more artistic while mine was always riddled by conflicting commitments, responsibilities and remorse and the fact that I belonged to a class which would eventually be quashed by the proletariat. Carmelo Bene rose to the challenge of 1968 with the freedom of a great artist. …
 
When a revolution is in progress, the artist’s job is not to illustrate or advertise it, but rather to express it in the most original manner and to transform the contents of the movement into art. In this sense, Our Lady of the Turks is a manifesto of the events of 1968. Perhaps not of 1968 as it was. But certainly of a 1968 full of contents, proclamations, and logics which only an artist could propagandize. Carmelo Bene was obviously a giant. … He struck me as a person with so little technique that he was free. And he was so capricious and original in the editing of his films. … In all the films by Carmelo Bene I have seen, there is a great sense of freedom. A freedom which becomes an expression, an image. Yet he never uses dissociated images. Carmelo Bene has a great talent for synthesis…
 
— Marco Bellocchio
Transforming Revolution