The magazine is here: TheInvisibleFinger
Huge excitement building in Hsinchu East…
Mostly entertaining because of the C-spam interviewer, in this chat Francis Wheen gets quite a bit wrong, possibly just for effect, it is only TV after all. – But, for example, the original Marx grave was not in an obscure corner at the ‘other end of the cemetery’, but 100 metres or so away from the present monument, and the monument is not closer to the entrance, its a little further away as the crow flies. And then ‘its hard to say…’ what a Marxist is, who is a Marxist etc., gimme a break! Thanks C-span. And thanks Francis Wheen – best bit about the book was the literary licence that acts as condescending smirk about boils and carbuncles. And what is this about many not finest hours etc., smearing daughter Jenny as a sponger, who commits suicide because they were weary! (yet Lenin spoke at her funeral [‘I suppose’ the Russian revolution had something to do with Marx’]), a 10 day drinking binge with Engels [‘no detailed account’] and Engels joining the firm in Manchester, it cannot al be so simply glossed – recall, Engels wrote “The Condition of the Working Class in England” already in 1844, some 6 years before, in Wheen’s narration, Marx ‘called him to come to England’. It is too easy to play story time with bits of myth, but you should probably preface it with some scepticism about the oft-repeated tales.
Have got to agree with him about bourgeois monarchy in the UK.
Not so good on definition of the proletariat, well ok, but needed to also come up to date. As does everyone – what is the proletariat now, and who is digging capital’s grave (the mining industry? – 1% Riotinto, the rest toxic minerals for iphones?)
and why isn’t 500 pages on LTV sexy?
Back to the pub crawl. You should get on the Marx Trot Francis. Coming up in 2016.
John Holloway has a thing in the latest HM Journal on the first sentence, but I had not seen it before writing these notes. See a link to his – or at least another verion of it, I dunno if exactly the same – via here. Meanwhile, these notes are the 2011 update of a text published in 2008 in Tom Bunyard’s “Devil’s Party“:
The first sentence
Starting with the difficult scene of commodity exchange, this is nonetheless a very clear and accessible read. Marx’s presentation differs from the mode of inquiry. The commentary on commodities was not his first object of analysis, it is an abstracted presentation, a writerly, rewritten, text.
Marx’s introduction anticipates a great many themes that will recur over and over in the text. Readers are forewarned, the wealth of nations is at stake, there be monsters, in this drama, where production rules, and its very elements, and their abstract form, will be examined.
Look at the first sentence of the text (in English, Penguin translation):
‘The wealth of societies in which the capitalist mode of production prevails appears as an “immense collection of commodities”, the individual commodity appears as its elementary form’ (Marx 1867/1976)
I think it is crucial that the commodity is the opening scene of a drama that has a wider purpose for demystifying. It is the opening to a work that will provide the ‘implied reader’ of Capital (I follow Gayatri Spivak’s ‘Scattered Speculations’ essay of 1985 in seeing this reader as first of all a member of the German socialist workers party here, and by extension today, you and I) with the x-ray vision to see through the trick of market exchange, control of production, distribution, valourisation, credit, the varieties of subsumption and the crises of capital, so as to sublate the productive power of capital away from the exploitative production for profit of commodity wealth into a more plentiful abundance of life and creativity for all…
Marx wrote his analysis of capital not only because he wanted to set down the answers, but so that the working class would have the wherewithal to make their own analyses, to read the world. We can have issues with this metaphor, which privileges text as unproblematic transcription, but Marx himself would not have difficulty here.
Who to write for as important as what to say.
So what to say? I would argue that the first sentence is of utmost important because the whole of Capital, in its presentation, is a staged drama. Throughout the literary theatrical code is prominent. Characters when they appear (as personifications, as ‘Moneybags’) perform in Marx’s theatre, even at the very beginning – the ‘immense collection of commodities’ is characterised as something like the World Fair, those mad exhibitions of the produce of the world, before which – in 1851 for example – Marx had marvelled as a visitor at the plunder of the world. The society to be examined is one where the capitalist mode of production prevails – prevails as a kind of monstrous law or power over all (prevails is translated as herrscht , which might be better rendered as rule, govern or controls). And though we are starting with the commodity, the analysis will look to the provenance of all these things, and how production determines exchange, and what follows (see my dispute with Clifford in Hutnyk 2004 chapter 1)
The very first four words of Marx’s Capital are ‘The Wealth of Societies’, surely echoing, as Spivak notes, Adam Smith’s An Inquiry into the Nature and Causes of the Wealth of Nations. ‘In the rational plan for socialism’, however, ‘there is no room for nationalism’ (Spivak 2008:100). Against Smith, Marx writes a book that is aimed at overcoming the exploitation and appropriation of wealth that prevails in the capitalist mode of production as a social (class) formation. He writes in order to expose the trick of capital, its deceit and deception.
The wealth of societies is a phrase that should be the first to stop us. Recall that society is not community, think of Tonnies, soon to be writing on this distinction, recall Thatcher, recall Cameron’s big one – the proposal that the support work of social reproduction be further socialized, via all manner of voluntarism, non-remunerated labour, free for all disregard of the hard won concessions that a strong labour movement had wrested fro capital – we will spend considerable time on struggles over the length of the working say, but this is relevant also for family, ethnicity, self-education and a range of other modalities of reproduction, including affective labour in sexual service, family reproduction, marriage and – lets call it compensation dating.
Now, I am not saying we should address each word of Capital with a view to thinking how it is relevant to our circumstances today, to the current conjuncture, etc., though that is pretty much the essay question, but i do think its worth keeping in mind that we read with a contexted eye. This year, of all years, threatens to be interesting and I would like to think reading capital again can help us think differently than we presently do – the only reason to go on thinking at all.
What clinches this argument? The very wording of the opening sentence includes two visual references. In the Penguin edition the German word erscheint is translated as ‘appearance’. The German reads:
‘Der Reichtum der Gesellschaften, in welchen kapitalistische Produktionsweise herrscht, erscheint als eine “ungeheure Warensammlung”, die einzelne Ware als seine Elementarform.’
The term erscheint occurs just the once here, rendered as two instances of the word ‘appears’ in the English (as cited earlier). This is grammatically acceptable; translation is no pure calculus, but I think there is an important significance that is lost. In the Lawrence and Wishart edition the translation is better: ‘The wealth of those societies in which the capitalist mode of production prevails, presents itself as “an immense accumulation of commodities”; its unit being a single commodity’ (Marx 1867/1967:35 my italic). Both editions then go on to say that our investigation therefore begins with the analysis of the commodity. Noting that accumulation is perhaps a better translation that collection, my point is that revealed in the gap between the two English translations of erscheint is the entire burden of Marx’s project – to expose the trick of the commodity as social form so as to teach the working class to see into the mechanics of industrial capital. Erscheinung, in German usage, has a double, or even triple sense. It connotes ‘appearance’ both in terms of how something looks, and in the theatrical sense of putting in an appearance, of staging something; in addition, it also has the sense of an apparition (which is what Derrida makes so much of in Spectres of Marx, although not actually from this sentence; it seems he prefers the Manifesto perhaps because it’s a shorter read [‘A spectre is haunting Europe’]). The ‘presents itself’ of the International edition gets closer to the theatrical sense, but does not capture the doubling nor the monstrous spectre, the trick that is perpetrated by the animated commodity – animated by the masses themselves, though they do not see it as such, yet.
Another point to be made here is that Marx, in that first sentence, quotes himself. Others have pointed to this curiosity (see Pepperell 2009), but Marx had already quipped in a preface that he was ‘coquetting’ with the presentation style of Hegel in setting out his rendering of Capital. This flirtation, that we do not need to take at its somewhat flippant word, is itself a machine for seduction, for storytelling, repetition, and a gamble that starts with a kind of doubled disguise (self quotation from the start) as a tactic. The wealth of societies is Smith, but not Smith, ‘ersheint’ is Hegel, but not Hegel, the commodity is the elementary form, but social, the monster accumulates.
I will also take up, in this first sentence that has detained us already for a long time, and further holds the rest of the text in abeyance, another translation slippage that I think is significant. Within the self quoted quote, the English renders the accumulation of commodities as ‘immense’. Ungeheure can certainly mean immense, or enourmous, but it also evokes a more Gothic meaning, that certainly fits the context – ungeheuerlich is ‘monstrous’, Ungeheuerlichkeit is ‘atrocity’. Perhaps it would be good, even in this first sentence, not to write out the evocations of Marx’s language – the theatrical and the gothic – a book populated by monsters is not merely comic, it is deadly serious, engaged in combat against demons and death.
Ungeheuer is immense but also monstrous. The demonic inflection is intended in Marx’s language. What today is the most monstrous appearance of capital? No longer a commodity economy but an economy economy, an immense collection of abstract shares, interest margins, affective attachement to interest rates and other markers of well-being, all of course based upon property and privilege still, but somewhat more clearly only the appearance of wealth is mediated through salary and bonus and all that can afford. Good schools, white entitlement, supremacy and privilege have never been less obvious as the marks of accumulated wealth of society types.
Appearance is theatrical, yet also a machine of domination. The point is to see though this trick, to see through the plastic appearances. We are not only talking of how things are, but also of how they are made to seem, and how we put up with them, even smiling as we do so. This needs a storyteller’s skill; so that rhetoric, metaphor, trope, coquetting; nothing escapes its role in the system. It might not even be impossible to imagine Marx as the system thinking itself in some contradictory, reflexive and critical manner (self quotation, doubling, haunting itself), but this is of course a fantastical deceit. Marx delivered a book that was itself a machine for narrative action (and still is, it gets inside your head and rewires thought, the tables dance). Now, the book could be read every time and for everyone as a potentially endlessly reorganized and renewed epic (it is hoped), still true to the project of teaching the implied reader to conjure with theory so as to unpack the real – to unpack the wealth of societies in which the capitalism mode of production prevails. Sure, it is a gamble to set out the analysis in a rhetorical style – inevitably part of the culture industry, the book itself still today engages with this gamble: Capital as a radical text sells more in times of crisis than not, and is sold as a commodity in bookshops for gain. It has its own commodity fetish format, precariously inserted into the DNA of the system of co-option and recuperation, even in the radical must-needs product. But the plastic will not remain forever – the reading of Capital is not merely system noise. We want people to read more than the first sentence, but also we want to read with care – and with a view to changing everything because, well – this is too quick, but we know the co-constitution of industry and exploitation cannot be merely described. The point is to change it. Books are also tools, plastic wealth is a trick, the screams of pain are real.
Note: Hans Ehrbar has prepared a resource that presents large sections of the English (Penguin, but often amended) and German (4th Edition) text of Capital in parallel, with significant explication. (Ehrbar 2009 http://www.econ.utah.edu/~ehrbar/akmc.pdf).
Ehrbar notes that this ‘new’ translation and interpretation of Marx ‘is deeply indebted to Critical Realism, a philosophical current founded by Roy Bhaskar’. He also says, unfortunately, that ‘I did not try to reproduce all ambiguities of the German text. If the German can be understood in two different ways, and interpretation a is, in my view, clearly right while interpretation b is wrong, then my translation will only try to bring out interpretation a’ (Ehrbar 2009 http://www.econ.utah.edu/~ehrbar/akmc.pdf)
My reading of the first sentence, prepared before I found Ehrbar, follows Spivak and attends to what might be called ambiguities, but which I think may be better rendered as dialectical style. The reading of the rest of the book will confirm or deny this assertion.
Marx himself rewriting the first sentence is here (which in turn links to this post, so a circuit metaphor is lurking there somehow… mis-en-about…)
From Subversive Festival Zagreb, May 2014.
John Hutnyk: Translating Capital in context, politics, struggles
The School of Contemporary Humanities
moderator: Dunja Matić
the dedication, the prefaces, the first sentence, the tenth/eight chapter, the teaching factory, malignant and parasitic, etc…
[errata: New York Daily Tribune, not herald. Fudged Horace and Dante quote, not rude enough about Zombie’s… but otherwise…]