Tuesday, 30 October 2018

The Torturer

EVERYONE WITH ACCESS to a television set or a computer remembers where they were on the night of November 8, 2016. What had loomed in the possible future, scarcely credible in its menace, suddenly became the actual here and now. A new era of cruelty and irrationality in public life had arrived, along with the re-embrace of a host of old horrors that had seemed beyond argument: institutional racism, police brutality, torture, gross ecological negligence, and thermonuclear brinkmanship, to name a few.

Progressives in Brazil have been living a recurrence of that nightmare this month that is in every respect more extreme. On October 7, the neo-fascist presidential candidate, Jair Bolsonaro, narrowly failed to secure an overall majority and outright victory in the first round of the election. In the runoff, set for today, he faces the distantly trailing center-left candidate, Fernando Haddad of the Workers’ Party (PT). A university professor and party stalwart, Haddad is standing in the stead of former president Luiz Inácio Lula Da Silva, whose own campaign ended in April, when he was imprisoned as part of a corruption investigation that has implicated much of Brazil’s political establishment. Since the impeachment of President Dilma Rousseff in 2016, some of the worst offenders in other parties, aided by a conservative Brazilian media, have decisively channelled public anger over corruption against the PT.

All the momentum is on the side of Bolsonaro, whose very wildness, like Trump’s, appears somehow a token of honesty. The arrow of recent world history also seems to point strongly in his favor. There is still hope — Brazilians are an inherently optimistic people — but barring some deus ex machina, Bolsonaro will be elected president tonight.

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Bolsonaro and Trump both specialize in violent language. There are several examples of near-verbatim correspondence between the two.

It’s easy to imagine the current president of the United States nodding along, for example, with Bolsonaro’s leaden quip that International Human Rights Day should be renamed “the day of losers.” Where Trump spoke of “shithole” countries, Bolsonaro has referred to immigrants from the same places as “the scum of humanity.” As with Trump, the expansion of private firearm ownership among “good citizens” is one of Bolsonaro’s only consistent policy proposals. And, of course, immediately prior to the first round, Bolsonaro declared: “I will not accept an election result that is not my own victory.” (He duly blamed his failure to win a first-round majority on fraud.)

More often, however, Bolsonaro operates in a realm of authoritarianism, viciousness, and degradation at least one level further down from Trump — saying, overtly, things that Trump only hints at, or allows to rest entirely between the lines of his rhetoric.

Where Trump has promoted draconian criminal justice policies, encouraged police to rough up suspects, and generally failed to grasp the concept of due process, Bolsonaro has campaigned on an explicit platform of legal immunity for Brazil’s police forces — already the most lethal in the world.

“If he kills 10, 15 or 20, with 10 or 30 bullets each, [the officer] needs to get a medal and not be prosecuted,” he has said; “criminals shouldn’t have a single right.” Where Trump and his supporters have revelled in the dream of “locking up” his defeated rival, Hillary Clinton, Bolsonaro talks of killing political opponents. “We are going to gun down all these Workers’ Party supporters,” he offered at a rally in the northern state of Acre. On the streets of Rio, he handed out fistfuls of grass for PT supporters “to eat,” a play on a Brazilian idiom for dying.

Bolsonaro subsequently became a victim of violence himself, when he was stabbed during a campaign event by a man who claimed to be acting on divine instruction. His standing in the polls increased while he ostentatiously convalesced in hospital, blaming the violent atmosphere on his opponents.

Trump has routinely mocked the physical appearance of any woman that criticized him, and defended himself from some of his 20 sexual-assault accusers in the same terms: “Believe me, she would not be my first choice. That I can tell you,” he said of Jessica Leeds; “Look at her,” he said of Natasha Stoynoff. Bolsonaro, meanwhile, has repeatedly told Maria do Rosário, a fellow member of congress, to her face: “I would not rape you because you don’t merit that.” The first time was in 1991: as she reddened incredulously in a crowded hallway, he pushed her and called her a slut.

In 2014, unmellowed by the passage of time, he roared the same words at her across Brazil’s Chamber of Deputies, the lower house of congress. Rosário had been promoting a report on the crimes of Brazil’s military dictatorship of 1964–1985, which included the use of rape as an instrument of torture. This challenged Bolsonaro’s sense of his own prestige, for he had served in the Army himself for some of that period. He proudly posted the videos of both incidents on his web pages, with the caption: “Bolsonaro puts Maria do Rosário in her place.”

The one area on which Trump and Bolsonaro might have to disagree is homophobia. Though he gives generous latitude to religious homophobes like Vice President Mike Pence, Trump himself is notably less homophobic, considering the strength and depth of his other prejudices. Bolsonaro, on the other hand, is a homophobe’s homophobe: in his 30 years of public service, he has tirelessly given voice to that constituency that makes Brazil one of the most dangerous countries in the world for LGBT people. In 2013, he invoked his parliamentary immunity against hate-speech laws to declare, simply: “I am homophobic, yes — with great pride.”

Indianara Siqueira, a veteran transgender rights activist attending a recent protest, reeled off a list of recent incidents she’d either experienced or heard about. Shouting on the train (“Hey, you faggots, take care, because Bolsonaro is going to kill you all”). Lesbians being threatened with rape. Whispering in the street (“Soon it will be the end for you”). That day, a friend of hers had been elbowed by a stranger in a train station. Siqueira wryly pointed out that, while everyone else in Rio is told always to walk in groups for safety, “for LGBTI people, to walk in a group is actually more dangerous.”

Many people we spoke with recalled hearing the chanting of the candidate’s name alone — Bolsonaro! Bolsonaro! sometimes in the distance, sometimes up close — as an unambiguous form of intimidation. “Trump! Trump! Trump!” has, of course, been weaponized on the streets, sports fields, and playgrounds of the United States in exactly the same manner.

Where Trump campaigned on the promise of bringing back waterboarding for foreign terrorism suspects, Bolsonaro and some of his supporters fantasize about reinstituting torture domestically. “I am pro-torture, and the people are too,” he has declared.

This is Bolsonaro’s core statement, the one that unifies all the rest. When he basks in the history of the violent torture carried out within his former chain of command, we see him for what he is: with his sadistic comments about minority groups and other opponents, he exercises the torturer’s impulse — as Trump does — psychologically. As in the case of Trump’s supporters, it appears to contribute rather than detract from his appeal.

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“I feel a tightness in my body, the tension in my neck,” said Camila Aventura, a 30-year-old teacher from Rio de Janeiro’s West Zone. “We who defend democracy have all been feeling a heaviness in our bodies, a general despondency. We try to come together to believe in turning it around, to believe that democracy can be secured once again. But we’re very anxious.”

We met Aventura at a demonstration, on a square in central Rio, where flocks of pigeons skimmed low under a gray sky. When Bolsonaro first announced his candidacy in 2016, Aventura continued: “It seemed ridiculous. But, somehow, he gathered strength. I personally don’t want to imagine a Brazil governed by Bolsonaro. Friends have said they will go into exile, and I’ve thought about that too.”

For the best part of three decades, Bolsonaro was considered an upsetting but irrelevant oddity: the reactionary wretch in the corner of the room, sounding off like a car alarm two blocks away, just one more clanging noise, amid the national cacophony, with which people had learned to coexist.

“The things he said were so absurd that we started to share them online, laughing,” said Giovana, 21, another teacher, at a small protest one rainy evening in Lapa, a landmark neighborhood of weekly street parties and samba circles, where grizzled Marxist old-timers mingled with bohemians, all clutching beer bottles and huddling under leaky tarpaulins.

Like many of the young people we spoke to, Giovana was hesitant to talk, carefully checked our credentials, and withheld her last name. Being openly queer made for a different order of worry.

“It’s very difficult to walk on the street at the moment,” Giovana continued. “The other day, a guy came at me on a bicycle, full speed. He almost hit us, skidded, and splashed a load of water in our faces, and took off laughing. Even if we don’t wear our political stickers, people just need to look at us to see which side we’re on.”

“So he started to rise in popularity because of us!” she said, her eyes widening. “We thought it could never happen. And then he started to grow, and grow, and grow. He took hold of a part of the population with great force! We only realized the danger we were in when the count started to come in. And then I started to cry, desperately.”

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Shortly after 9:00 p.m. on the night of March 14, 2018, Rio city councillor Marielle Franco left an event in the city center. Sitting in the back seat of a white Chevrolet Agile, she traveled west, past the Sambadrome Marquês de Sapucaí, which hosts Rio’s annual carnival parade. Seconds later, another car drew level with hers. She was killed with four bullets to the head, fired from its back-seat window.

Michel Temer, the unpopular president installed after Dilma Rousseff’s impeachment, had recently signed a decree making the military responsible for Rio’s police operations. The head of the Army, General Eduardo Villas Boas, had demanded guarantees that soldiers would not face “a new Truth Commission.” Two weeks before she was killed, Franco had been appointed by the city council as rapporteur on the military intervention, and on the eve of her death had denounced a police killing of a young man in Rio’s North Zone.

Black, queer, feminist, born in a favela, and an outspoken critic of the militarization of public security, Franco was a rising star of the new leftist politics that inflamed the revanchist far-right movement already solidifying around Bolsonaro. Now she had become a nuisance to the military, and to the political establishment increasingly dependent on the military intervention in Rio for its projection of legitimacy. The absence of any proper investigation of the murder left no doubt about the alignment of interests involved. More than seven months on, there is still no answer to the question: “Who killed Marielle?” But in death, she has become a symbol of the struggle against fascism.

A few days before the first round of the election, three men running for office with Bolsonaro’s party whipped a crowd into euphoria by waving around pieces of an unofficial street sign dedicated to Franco, which they had broken. The demonstration we attended in the city center had involved replacing the sign — and handing out a thousand replicas.

“It’s impossible not to be moved by seeing Marielle’s wife replacing her plaque,” said Raíssa Leal, a 25-year-old student, as she left the event and headed home to her favela in the distant neighbourhood of Jacarepaguá. “Seeing somebody I helped to elect assassinated in that way shows that my political rights, especially as a black woman, are being increasingly diminished. And with such brutal force! People say that this guy isn’t a concrete threat — but his supporters are.”

At both protests we attended, there was a hyper-vigilance among the crowd. If a street vendor dropped a tray of cans, or a car blared its horn, people’s heads swiveled in that direction. The day after Bolsonaro’s first-round win, Moa do Katende, a renowned Capoeira teacher in the northeastern city of Salvador, had been killed with 12 stab wounds to the back, after a bar dispute with a raving Bolsonaro supporter. Raíssa Leal noted that Katende was black, a practitioner of an Afro-Brazilian art form, and a supporter of the PT in one of its regional bastions. “That says a lot about who exactly are the targets,” she explained.

Hours after that murder, a 19-year-old woman had a swastika carved into her skin by a group of men in the southern city of Porto Alegre. She had been wearing a T-shirt of the #EleNão (#NotHim) movement, the main, feminist-led mass-mobilization against Bolsonaro’s candidacy. Since September 30, more than 50 violent attacks and in-person threats have been perpetrated across the country in the name of Bolsonaro.

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Wanting not to boost his presence online, or use the name that has become a profanity, opponents of Bolsonaro often refer to him as “the Thing.” As a figure of national nightmare, the biggest difference between him and Trump is that Bolsonaro — gallows humor aside — is not particularly laughable. He has nothing in him, as Trump does, of Homer Simpson (nor even of what one German newspaper headline, the morning after Trump’s election, memorably called “den Horror-Clown”).

Bolsonaro is a humorless petit-bourgeois mediocrity, an obscure captain in a Brazilian Army that never went to war except against its own people, a congressman who passed two pieces of legislation in 28 years. Wiry and limp-haired, with a black-eyed stare and an aura of quickness to some kind of savage yet impotent physical violence, he appears nothing like Trump. He might play a perfect Iago: the frustrated ensign, fuming in the shadows about “the beast with two backs” and “the daily beauty […] that makes me ugly.”

He lacks the diabolical manipulative genius of Iago. But nowadays, the internet is there to assist with that. A number of Brazilian digital marketing agencies have been using psychographic profiling and audience segmentation techniques to influence voter behavior, particularly through WhatsApp, a source of political information for 44 percent of Brazilian voters.

Using fake profiles, and telephone numbers obtained without consent from Facebook user accounts and other databases, they create insular groups for certain kinds of voters. Tailored information — much of it false — is then passed down through a pyramid distribution system, from the content producer to local activists, on to the groups, whose individual members forward the material to their family and friends. On October 18, Folha de São Paulo revealed that this activity has been financed by pro-Bolsonaro business interests, possibly constituting illegal campaign donations.

We joined several WhatsApp groups of Bolsonaro supporters. Each of these typically received an average of 500 messages per day, mostly in multimedia form. “Don’t ask questions here, this isn’t a group for debate,” wrote the administrator of one. “We need to focus on what we believe in.”

A common belief associates Nazism with the left: It is national SOCIALISM, stupid! (The German embassy in Brazil recently published a video on Facebook discrediting that idea; thousands of Brazilians posted angry comments in response, advising Germans to learn their real history.) Under the postmodern epistemology of the fake news environment, whereby what’s false can be believed, and what’s factual can be dismissed out of hand, all those who have denounced this movement — the U.N., Francis Fukuyama, The Economist, Roger Waters of Pink Floyd, and the pope — are part of a communist plot to undermine Bolsonaro.

From this alternative reality, based on emotive belief, Bolsonaro emerges as the inexorable presidential candidate. He doesn’t participate in presidential debates, because they are “secondary.” He doesn’t speak about the economy, because he “doesn’t want to discuss topics on which he isn’t an expert.” He is as insubstantial as the internet memes by which his candidacy has been propelled. His supporters have nicknamed him “the Myth.”

Of the pro-Bolsonaro WhatsApp groups we joined, the most active by far was the one devoted to Evangelical Christians. This group received well over a thousand messages each day. In 1980, 6.6 percent of Brazilians self-identified as evangelicals; by 2010, that figure had risen to 22.2 percent.

The Universal Church of the Kingdom of God, Brazil’s main neo-Pentecostal denomination, has achieved a particularly pronounced growth in followers, and in wealth. It was founded in 1977 by Edir Macedo, who is now the owner of the country’s second largest media conglomerate. His declaration of support for Bolsonaro, one week before the first round, seems to have contributed to a late gain in the polls.

The Temple of Glory of New Israel, in the neighborhood of Del Castilho, is the second largest temple of the Universal Church. It is the size — and general shape — of a small soccer stadium. It has its own food court, including a Domino’s pizza outlet, rather too expensive for many of its congregants, who come from the favelas that sprawl nearby. One morning this October, over 10,000 of them chanted, and shrieked, and waved quivering arms in the air. When the strutting pastor invited them forward to the altar to have their medical conditions salved — and to pledge their money in the cause of Christ — they surged down the aisles. They held aloft their plastic water bottles, whose contents were made holy with a stroke of the master’s hand.

“Here’s the thing,” said Gisele Felix, a housewife from Senador Camará, a poor area on Rio’s periphery, waiting out on the street after the service. “The majority of what comes out on social media is fake news. That he’s homophobic and against the LGBT community is all lies.” What she believed instead was that the Workers’ Party, in league with an LGBT lobby, “wants to create a system in which the children are being influenced, to involve children in bad things.” She was undoubtedly thinking of the so-called “Gay Kit,” a set of guidance materials for schoolteachers, which Bolsonaro has fulminated against, claiming they were designed to turn children into homosexuals.

If homophobic and political violence are the most ghoulish and insidious threats now hovering over Brazilian society, the mundane and impersonal terror of violent crime remains much more pervasive. From 2011 to 2017, the number of homicides in Brazil increased by approximately 20 percent; in Rio, it increased by more than 35 percent. By 2017, the murder rate in Brazil stood at 30.8 per 100,000 people. In the United States, where Trump and the Republican Party habitually scaremonger about crime, the rate is around five.

In an indignant mass consciousness, this genuine epidemic of violence has merged with the unprecedented revelations of official corruption into a single idea, expressed through rejection of the PT. This is what set the stage for the empty candidacy of Bolsonaro — a mimetic response to the rancor, depression, and nostalgic fantasies of a society in psychological breakdown. Fascism, as Walter Benjamin once wrote, offers the masses “not their rights, but instead a chance to express themselves.”

We talked to Rosane Nunes and Mauricio Paixão, who were in disagreement over the man they referred to, at first, only as “a certain candidate” as they left their Sunday worship. (Their circumlocutions here may have been owed to caution over Brazil’s law against political campaigning within churches.) Together they demonstrated the dilemma facing Brazil’s lower middle class:

Rosane Nunes: For me, it’s a moment of great desperation. The country has regressed a lot. We had economic growth; people were living better, with good jobs. Today, we have 13 million unemployed, even though we have every natural resource in Brazil, every possibility for growth. Brazil is a magnificent land. It’s absurd. On the one hand, I don’t want corruption, but I fear the very radical positions of the other candidate.

Mauricio Paixão: The point we’ve arrived at is a radical point. The worker gets up at four or five in the morning to go to work, and doesn’t come back. My wife was robbed at rifle-point going to work, on a crowded street. They took her phone. There’s no point in you having a job if you’re going to get shot at the bus stop! This candidate, I think he’s got such a rage in him against the insecurity in our country, that he revolts against it. So I think he’ll manage to do something about it, that’s what I hope.

Rosane Nunes: But it’s not with rage that you bring about the change you want. It’s rather with resolution, plans, and coherent thoughts. I think prejudice and discrimination are things that should have stayed in the past. Brazil has so much of this already. The Christian should vote with conscience and conviction, and I don’t look favorably on either of the candidates. I just don’t want more corruption, that stigma of so much that was taken from us …

Mauricio Paixão: Well, I think that after the discovery of so much corruption, the population woke up, and started to unite. If someone chooses the criminal life, he has to pay the price. Or he should wake up early and work and not take other people’s lives. We need to elect people who represent us, represent the family, protect the laws that protect our children and grandchildren. Why can’t a Christian take a position? I will vote for Bolsonaro.

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Brazil has reached a similar crossroads within living memory. In the name of the family and religious values, 300,000 people took to the streets of São Paulo on March 19, 1964, in a “March of the Family with God for Liberty” organized by Catholic clergy, conservative women’s groups, and businessmen, and replicated across the country. Twelve days later, President João Goulart was overthrown in a military coup supported by Congress. For the next 21 years, Brazilians lived under dictatorship.

Newspapers and politicians had been claiming for more than a decade that Brazil faced the imminent threat of communist revolution and unfolding atheist degeneracy. On March 28, in a telegram to the State Department, the US ambassador to Brazil, Lincoln Gordon, wrote that Goulart — a progressive reformer — was “now definitely engaged on a campaign to seize dictatorial power.” Gordon secured direct US support for the military plotters.

But it was the military coup itself that radicalized Brazilian politics. A guerrilla resistance movement rose in response, and grew after the Fifth Institutional Act of 1968 tightened censorship, closed Congress, and suspended the political rights of “subversives.” This act marked the beginning of the “Years of Lead” (1968–1974), the most repressive period of military rule, in which the government of General Emílio Garrastazu Médici waged a campaign of torture and assassination.

One victim, Crimeia Alice Schmidt de Almeida, was arrested in December 1972 when she was six-and-a-half months pregnant. Almeida recounted being beaten, electrocuted, threatened with death, and promised that her baby were it to be born healthy, white, and male would be taken away. She often felt it hiccupping in the womb during periods of particular duress.

The night she went into labor, she was placed in a cockroach-infested cell. “As the amniotic liquid ran down my legs,” she recalls, the cockroaches “attacked me in packs.” When finally taken to a military hospital, she was told she would have to wait until the following day for a caesarean section, because the obstetrician’s shift had finished. She pleaded that her baby could die. “That would be better,” the doctor responded: “One less communist.” She gave birth to a son, João Carlos. To this day, he has fits of hiccups when anxious.

The first person to torture Almeida was Colonel Carlos Brilhante Ustra, the head of the main torture unit during the worst years of the dictatorship. According to testimony, he would insert rats and cockroaches into the vaginas of captive women, and torture them in front of their infant children. In one of his memoirs, The Suffocated Truth, he writes that taking children to see their imprisoned parents was a benevolent act.

During a television interview in July, Bolsonaro was asked which book he keeps by his bedside. “The Suffocated Truth,” he replied with a look of lifted satisfaction. He and his sons — three of whom are politicians, prominent in his movement — have often publicly referred to Ustra as a national hero. In April 2016, in the Chamber of Deputies, Bolsonaro dedicated his vote in favor of impeaching President Dilma Rousseff to Ustra’s memory (Rousseff, a former guerilla, had been tortured under the dictatorship herself).

It is now a commonplace to point out that a country that fails to punish those responsible for state crimes is susceptible to their repetition. In Brazil, a National Truth Commission was belatedly set up in 2011, but the Amnesty Law of 1979 has generally secured impunity for the dictatorship’s torturers.

In a recent radio interview, Bolsonaro said that the objective of his government would be to take Brazil back 50 years — in other words, precisely to the beginning of the Years of Lead. His campaign imagines Brazil once again on the brink of communist rule, this time at the hands of the PT and its supporting social movements. In truth, during 13 years of government, the PT offered Brazil neoliberalism with a human face: it reduced poverty through progressive reforms, while banks and major corporations thrived like never before. But with his pretext defined, Bolsonaro now signals how he will deal with opposition.

“We will put an end to all types of activism in Brazil,” he said in a Facebook live-stream on the evening of the first round of the election. “The red outlaws will be banished from our country,” he declared two weeks later. “It will be a cleansing never seen before in the history of Brazil.”

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Arise, black vengeance, from thy hollow hell.

Othello

Private André Soares Wanderley stopped to speak briefly, on the Avenue along Rio’s Copacabana Beach, where thousands of Bolsonaro supporters had gathered for a rally, one week before the second round of voting. The demonstrators were a sea of yellow Brazil soccer jerseys and green national flags. Other T-shirts bore the movement’s unofficial slogan, which plays on the name Jair to read: “It’s better if you start getting used to it now.”

When a Military Police helicopter cruised low over the beach, the crowd turned to applaud. Wearing light physical-training uniforms and their maroon paratroopers’ berets, Wanderley and three colleagues gave the impression of being less than entirely off-duty. When we asked him what his uniform stood for, he replied: “Dignity, security, and Bolsonaro getting into power.”

When we asked him what Bolsonaro represented to him, personally, he replied: “Bolsonaro represents the military. The military doesn’t get involved in politics very often, but we support the idea that one of our members will take power, and do what the others didn’t do.”

We found a range of other answers to that latter question.

“Change,” said one; “Transparency,” said another; “Public security,” said a third. Several people told us that “Bolsonaro represents hope.” For Celso Emanuel Da Silva, a private security guard from the favela community of Caju, Bolsonaro represented reality.

“Bolsonaro signifies reality — reality without populist rhetoric, without trickery. He wants to unite everyone, poor or rich, black or white. He says himself that he’ll be completely even-toned. He’s against pitting LGBTs against heteros, the northeast against the south. We’re all Brazilians.” As for the large minority that fearfully reject Bolsonaro, “they don’t understand. The PT brainwashed them. Division in Brazil doesn’t exist, we’re all the same.”

Da Silva believed that “the parasitic and manipulating media suggest to Brazilians who don’t have much knowledge or culture that there was torture” under the military dictatorship, but that this was not the case. “During the time of the dictatorship — I mean, the intervention — Brazil became the third biggest economy in the world. Few people know about this.” Da Silva was agitated by the “devalued image” of Brazil in the rest of the world’s eyes. “The image of pornography, of beautiful, easy women, of prostitution, drugs, and violence. I don’t want that for Brazil.”

“Bolsonaro represents honesty, which has left this country,” said Laudelino Gatto, a 71-year-old federal judge from the affluent West Zone suburb of Barra da Tijuca, where Bolsonaro also happens to live, and draws vigorous support. He was attending the protest with several members of his family. “We have politicians trying to implement a pure communism. They don’t want liberty; they want their equality, not our equality. It’s a result of this that there is no more seriousness in this country.”

“The so-called military dictatorship that these idiots talk badly about provided me with quality public education,” Gatto continued. “I became a lawyer in a federal university. They remember that Ustra was a torturer, but tell me one leftist dictatorship that gave its opponents sweets and roses? There’s no need for a civil war, but the formula is very simple: get communists out of positions of power. This idea of making everyone equal is a fantasy of the mentally disabled.”

His wife, Maria da Gloria Furtado Gatto, chimed in with a point about government intervention in childhood gender identity.

“Lula, for those of you who don’t know,” Laudelino resumed, “is a certified pedophile.” As he took his leave, he asked us excitedly to “send a hug to Trump!”

Ben Rivers, 73, a retired graphic designer who, like Bolsonaro, had been an Army captain at the time of the dictatorship, also thought primarily in terms of a battle “between communism and liberty.”

“The young people have been corrupted. They think that communism is the answer. The country isn’t divided: 70 percent is in favor of Brazil, 30 percent is communist. As Henry Ford said, ‘Unanimity is for idiots.’”

He’d been a soldier in 1964, when “the people asked for the military” to intervene. “They didn’t kill one good person. It was only communists that they tortured and killed,” he said. “Unfortunately the communists are all still alive. If the dictatorship had been very violent, it would have killed Lula and Dilma. It didn’t kill them. It hardly committed any torture. It’s all lies. That won’t happen again. It never happened.”

He advised us to be careful with our possessions when we left the rally: “Here it’s okay, because there are no PT supporters or other criminals. If someone from the PT were here, they would be beating the elderly men — they are bloodthirsty, we aren’t.”

Another man in a maroon paratrooper’s beret stood atop a rig of loudspeakers. We relayed a request for an interview. He peered down at us, and gave us a military salute.

“Radical ideologies on both sides aren’t correct,” insisted Rodrigo Façanha, once he had climbed down. “I’m a centrist. So nothing of extremisms. Nothing! Today I try to maintain moderate language, because you can’t incite hatred.”

Façanha, now retired, had participated in military operations against the Araguaia guerrilla movement, in the early 1970s. But he distanced himself from the violence of that period. “I was mostly just an observer. I’ve always been radically against torture.”

Minutes earlier, he had addressed the crowd:

We’ve now reached the moment in which we turn things around, and return to reality. To cleanse this country. I fought against these bums on various fronts. These bums, who then took power and have been there for years! We have to be careful this week. They will try to be aggressive and do even worse things. And so the people have to be firm, so as to exterminate these rats! I continue in combat! Don’t believe this rhetoric of the disgusting PT. Let’s fight! Long live Bolsonaro!

As we await Bolsonaro’s likely victory, and embrace with Trump, the spirit of the torture chamber now circulates freely in Brazil.

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Louis Amis writes about US and Latin American literature and politics. Follow him on Twitter @LouisAmisStuff.

Juliano Fiori is a writer based in Rio de Janeiro. He is working on an intellectual history of humanitarianism.

The post The Torturer appeared first on Los Angeles Review of Books.



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Tade Thompson’s “Rosewater” — An Alien Invasion That “Grows On You”

WHEN FINISHING Tade Thompson’s Rosewater, I had a visceral flashback. One summer, I went to the beach boardwalk with my college roommate. There was a new ride towering over the beloved, but outgrown, kiddie-sized swings. At least two stories tall, painted orange and fuchsia, the new ride was a gyroscopic wheel made up of two-seater cars that could tilt independently forward and back as the whole wheel lifted and hinged at an angle. As we stood in line, I scoped it out. Tilting, hoisting, and rotating were all ride mechanics I’d experienced before — easily managed. My roommate and I climbed aboard our car, were locked into the harness by the attendant, and joked as the wheel began to lift and slowly rotate. We tilted back a bit. We tilted forward. And then my roommate rocked our car entirely backward into a dedicated independent full-spin of at least six rotations.

About the third time around, I realized that I hadn’t actually known what the heck I was getting into. By the fifth rotation, I decided that what the ride actually was, though unexpected, was far better than the ride I had anticipated.

So when I tell you that Rosewater is a science fiction mystery that is simultaneously about an alien invasion and a man trying to avoid being murdered, I do so knowing that each of those elements may conjure familiar generic conventions. If you add them up, you’ll have a relatively good sense of what reading Thompson’s first novel in the Wormwood Trilogy is like. But at a certain point in the book, you may find yourself dramatically reassessing those assumptions while spinning backward and cringing with horror-tinged delight. I urge you to throw your hands up and enjoy the ride.

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For readers unfamiliar with the recent outpouring of global science fiction, the first necessary reorientation might be that Rosewater is not only the beginning of a new trilogy, it is also already a literary landmark. Tade Thompson is a devoted genre writer whose work spans the realm of speculative fiction: his accomplishments include a Rosewater-adjacent ghost story, “Slip Road” (2009); an alternative-history crime novel, Making Wolf (2015); a superhero novella, The Last Pantheon, written with Nick Wood for AfroSFv2 (2015); and the horror novella The Murders of Molly Southbourne (2017). His writing pushes the tensile strength of genres: Rosewater is an alien invasion novel that begins with the invading already well underway, like Octavia E. Butler’s Dawn (1987). The novel is also a near-future science fiction story with strong overlays of detective mystery. It is not surprising that the African Speculative Fiction Society took notice of such a work: when it debuted in 2017, Rosewater won their inaugural Nommo Award for Best Novel.

Don’t haze through that last sentence. The Nommo Awards are African literary awards for speculative works by African authors, an award structure emblematic of a particular literary moment. Since 2000, the science fiction community has increasingly turned attention toward the diverse offerings of writers around the world (including Nalo Hopkinson, Nnedi Okorafor, Liu Cixin, and Lauren Beukes), learning how to celebrate long-overdue stories and storytellers. The establishment of an African literary award specifically for — and to encourage — African speculative writers is glorious. As a Nommo Award–winning novel, Rosewater points to a key moment in the history of African science fiction, and it positions Thompson’s name among several notable 21st-century genre-shifting authors.

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We experience the story of Rosewater from the perspective of Kaaro, the narrator and protagonist. Known as a “sensitive,” Kaaro is capable of accessing people’s emotions, thoughts, and memories via an alien-seeded living informational network called the xenosphere. This xenosphere connects anyone with microscopic fungal-styled alien xenoforms growing on their skin — since everyone has xenoforms, Kaaro can access anyone within range. These abilities make Kaaro and other sensitives prime agents for S45, a shadowy government organization that infiltrates opposition parties and extracts confessions from criminals. The money and clout of his position keeps a self-centered Kaaro happy enough until he discovers that someone is murdering sensitives. If he doesn’t want to end up dead, he must figure out what’s going on.

There’s a lot going on. A man with wings of fire flies in the sky. A folk hero can travel through time. The multiform alien Wormwood, for whom the trilogy is named, creates a forbidden domed city, Utopicity. It shines out light that heals the sick and raises the dead (Thompson is a self-proclaimed Mary Shelley fan). Then there are the regular humans: Kaaro operates in the surrounding megacity of Rosewater, built by people who worship, study, and cash in on Utopicity. Uncovering the way all these details connect in Rosewater is one of the thrills of Thompson’s writing.

As we read, we experience different sections of Kaaro’s life. Chapters loosely cycle through Kaaro’s past (during the founding of Utopicity, Rosewater, and S45 in the 2040s), Kaaro’s present quest for self-preservation (in 2066), and “Interludes” that recount Kaaro’s government missions. Thompson organizes these shifting chapters with growing purpose, using juxtaposition to encourage readers to follow Kaaro through time and space. Seeing the transformations in Kaaro as he ages reminds us that even our single narrator is multitudinous. Humans regularly lie to themselves — Kaaro certainly tries to — but they also grow and change with experience. This is useful since Kaaro, like most hard-boiled detectives, has unsavory qualities. He objectifies the women around him — especially women in positions of power, who easily rebuff his juvenile advances. He abuses his sensitive capabilities for personal gain as he tries to find his own, very loose code of ethics. Kaaro is not a hero; although at times his morals push him toward heroic action, he refuses to be the one to “solve” the problem of the alien invasion. It is ultimately enough that he is able — and we, with him — to discern some aspects of the alien Wormwood’s relationship to Earth. This hinges upon the important, and alien-dividing question: what do invading aliens decide to do with their favorite humans?

At its heart (can a book about a multiform alien have only one heart?), Rosewater lets readers think about the perils and powers of connection. As people question whether it is possible to disconnect from social media and nations reevaluate the impact of immigration, tariffs, and isolationism, it often feels like Tade Thompson has given us a gift in this prescient novel: it provides readers with the opportunity to consider these emotionally taxing topics from a cushioned fictional distance. In Rosewater, the United States has locked itself away, and no word of what is happening within its borders reaches the rest of the world. Residents of the United States are not even accessible through the xenospheric network. Archive-worthy American magazines, archaic military gear, and refugees caught outside the border make appearances in Kaaro’s world as lingering remnants of a superpower that no longer engages with the rest of the globe. This move feels particularly resonant in light of President Donald Trump’s “America First” agenda: at one point, Kaaro is told that “China and Russia are squabbling over who will be the new United States and everybody is scared, man.” Thompson has Kaaro and his affiliates consistently muse about what the Americans might be doing during their self-imposed isolation, perhaps hinting that the United States has an important role in the following novels. In Rosewater, however, what is most important is that the United States is largely, and self-determinedly, offstage.

Although the rest of the trilogy promises to be more global in scope, Thompson firmly anchors the start of the Wormwood Trilogy in Nigeria. The alien Wormwood seems able to engage with Nigerians differently — as one time-and-space-traveling character, colloquially known as Bicycle Girl, says to a British consultant:

We have more experience than any Western country in dealing with first contact. What do you think we experienced when your people carved up Africa at the Berlin Conference? You arrived with a different intelligence, a different civilisation, and you raped us. But we’re still here.

While Nigerians may have the skills needed to survive the alien invasion, they are still fallible. Thompson makes a point to show that contemporary problems have continued into this alien-shaped future. A major one: Nigeria’s 2013 law criminalizing homosexuality is upheld in Rosewater’s world of 2066. This continuance is offered as horrifically mundane, a detail appearing sporadically throughout the book, often in relation to Kaaro’s gay foster family. Though Kaaro has personal and alien-political problems to focus on, this human law of intolerance is an acerbic background issue. In one brief scene, a teenage Kaaro watches a televised football (soccer) match and ignores his foster guardians while they chat with him about Bicycle Girl. Unobtrusively, his guardians also verify the successful removal of their sexual-orientation biotech signals, a defensive maneuver made necessary when the government breaks encryption identifiers of the queer community. Even in a storyworld with an inescapable network like the xenosphere, marginalized populations are forced to hide.

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Although not part of a marginalized community, Kaaro’s rare ability to actively manipulate the xenosphere means his individual-identity is vulnerable to a different mode of aggression. To access such an intense network without becoming lost or attacked, each sensitive uses individual visualizations as a defense. Kaaro protects himself by navigating as a fierce gryphon and hiding his personal information in a labyrinth:

My space is a tall, hedged maze, with cloud formations in the sky and complex combinations of wind, breeze, light and dark. There are rotating sequences of sounds from seagulls, bats, dogs and crickets. I beat my wings and rise into the maze, and to demonstrate, I negotiate the maze through the single multisensory line. Taking a wrong turn, pausing when you should move or moving when you should pause, would cause the entire construct to collapse and lock the mind from an invader.

Forays into the xenosphere allow Thompson to exhibit his talent for evocative descriptions, as other mindscapes are even more lush: a dying sensitive’s xenospace is experienced as a rotting temple of flesh. Akin to the fictional evolution of cyberpunk’s cyberspace, in Rosewater the humans cannot resist structuring seemingly unbound networked connections by enfolding them in physicality. The tendency spreads: an alien presence in the xenosphere coalesces into a butterfly-winged femme fatale and names herself Molara only after Kaaro instigates these actions by insisting on the need for demarcated self-identity. There is an echo of this tactic in the form of the novel itself, as Thompson world-builds unapologetically, reveling in temporary sensatory overload as readers orient themselves to each new development in the intangible systems Kaaro navigates. Even when moments of dialogue feels stiff — often due to the demeanor of government officials — Kaaro’s experiences and insights return us to the richness of Thompson’s world. Phlegmy throats, bruises, and sexual ejaculations — when reading Thompson, one never forgets that part of being human is being tethered to physical bodies.

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Speaking of individuality and connection: though Rosewater is only the first novel of a trilogy, it can stand alone, since Kaaro finds the answer to his mystery. However, there are lingering questions that set up the macroscopic scale of the following books: What will happen to the humans enmeshed in Wormwood’s network? What might full network immersion entail? Other hard-earned pieces of Thompson’s storyworld lay off to the side, waiting to be put into place: the role of the United States and their possible xenoform-free community; the time-and-space-travel escapades of the scientist folk hero Bicycle Girl; the full story of Aminat, Kaaro’s girlfriend and — more interestingly — a secret agent. Toward the end of the novel, Aminat quotes Walt Whitman’s “Song of Myself” (1855) to Kaaro, saying, “I too am untranslatable.”

The ending of Rosewater suggests that another line from Whitman’s consideration of the multitudinous individual might be useful to remember: “[T]o die is different from what any one supposed.” This challenge to human mortality may feel unsurprising, considering Wormwood is a powerful multiform that can reanimate the dead, heal the sick, and transform all of the biological life on Earth to suit its own desires, but the alien’s interaction with humans is never so straightforward. Though Wormwood is not fully unveiled at the end of the novel, the alien is still insistently present in a manner that also feels particularly Whitman: the humans of Thompson’s world “will hardly know who I am or what I mean, / But I shall be good health to you nevertheless, / And filter and fibre your blood” (“Song of Myself,” canto 52).

Readers will have to wait for the next two novels to see if Wormwood’s insistent mode of connection is a promise, a threat — or both.

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Jessica FitzPatrick is a visiting lecturer at the University of Pittsburgh where she works on science fiction, world literature, spatial theory, and narrative technologies.

The post Tade Thompson’s “Rosewater” — An Alien Invasion That “Grows On You” appeared first on Los Angeles Review of Books.



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Why Still Look at Animals: A Conversation with Oxana Timofeeva

“IT’S THE FLEAS biting me, and I know they’re malicious and that they’re biting me with an intelligence that at first is human, and then more than human,” writes Jean Genet in Our Lady of the Flowers (Notre-Dame-des-Fleurs, 1943; translated by Bernard Frechtman). Here are nonhumans doing what humans usually do best: claiming territory for their invasive, top-of-the-food-chain subjectivity. But what would interspecies politics make of this kind of interaction? Oxana Timofeeva’s The History of Animals: A Philosophy makes the case for accepting the animal that is already here to stay — biting us, scratching us, dwelling within and despite us. Timofeeva is associate professor of political science and sociology at the European University at St. Petersburg, senior research fellow at the Institute of Philosophy of the Russian Academy of Sciences, and a member of the art group Chto Delat.

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M. BUNA: It has long been argued that the human cannot be human without the presence of the nonhuman (animal). Consequently, the animal became ahistorical. This is a perspective you try to dismantle in The History of Animals: A Philosophy, a book you choose to describe as not a “philosophical bestiary.” How do you avoid traps such as the power inclinations of our species (i.e., anthropocentrism) that even the most advanced animal texts don’t seem to escape from?

OXANA TIMOFEEVA: I dare say that avoiding anthropocentrism is a false target although I’m running the risk of being misunderstood: it’s not that I want to defend a centuries-old metaphysical paradigm against a critique that is common sense for our times. I am just thinking that the more we are trying to avoid the trap of the human, the more we fall into it. Anthropocentrism is used extensively as a fright. No one really wants to be anthropocentric or an old-fashioned humanist. Philosophy, arts, social sciences, and humanities are searching for ways of getting rid of the human perspective. But, paradoxically, the figure of the human remains the main reference for these critical approaches. Whereas humanity is finite, nonhuman is a name for an infinite multiplicity. So, the nonhuman is a negative set defined by what does not belong to it, and what matters here is precisely this “everything but” negation. If we try to interpret it in a classical Freudian manner, we must admit that it is just another way of affirming the figure of the human that persists and shapes all discourses of its radical critique. Another way of understanding this negation would be dialectical, meaning that the non of the nonhuman would operate as a marker of self-alteration, of becoming oneself through the other — the nonhuman would thus be the key to the human, and vice versa.

In this sense, the abolishment of anthropocentrism can only be fictitious, while a side effect of posthumanism might as well be the reinvention of the human. The source of the trouble is the binary opposition between the human and the nonhuman, which we tend to create without reflecting on its dialectical character. But the role of negation is principal here: it mediates between the two, between the one who I am, and the other that I am not. As I do not believe in the otherness of the other, I call for the disavowal of the logic of identity according to which there are “we” and “them,” and these “we” have to decide something about “them.” This logic of identity implies the position of power, the best example being the migration politics. If I recognize a binary, I do not try to pretend that it does not exist. Instead, I take the other side: I don’t see myself as a human being facing the animal other. Once taken seriously, this formula is helpful against the traps not only of anthropocentrism, but also of identity dogmatism.

To illustrate how the logic of subjection versus the logic of exclusion functions, you introduce us to the Aristotelian horse, an academic animal who commits the sin of inbreeding and consequently throws itself down the cliffs as punishment. Through this self-annihilation, Oedipus the Horse wages a war against its own being in the same way humanity wages a war against animality. (Some might even argue that humanity itself is a form of war against animality.) What is the meaning of such a gesture, given the fact that human beings are the only measure of order?

Among questions about what the animal can or cannot do, there is one still without answer: do animals commit suicide? Positivist scientists tend to reply that they don’t; and all animal gestures reminiscent of suicide can be explained by their instinctive behaviors that eventually cause their death. For instance, the mystery of Overtoun Bridge in Scotland, from which dogs leapt, was unraveled when it turned out there were mice and mink burrows under the bridge, so the dogs were leaping there attracted by the smell of the rodents’ urine. Scientists say that animals behave naturally, while suicide is not a natural behavior. Therefore they do not actually commit suicide, except for the cases when they do self-destruct as a result of mental disorder caused by their close proximity to humans, zoo captivity, et cetera. According to this scientific point of view, interpreting certain gestures of animals as suicidal means romanticizing and humanizing them, projecting on them our own fantasies. But what is even more anthropocentric is the scholarly verdict that animals, unlike humans, do not die of their own accord, meaning they are not able to negate themselves as living beings. I like your metaphor of warfare, of humanity as leading the war against the animal, and of the Aristotelian horse who, in this particular war, takes the side of the human. What my book tries to argue is that this negative gesture is intrinsically animal. It is the animal within us that breaks the circle of natural and immediate existence. The animal way of being is negative, and we all share it with other species. By this, I do not intend to argue against natural sciences and claim that nonhuman animals do commit suicide the same way humans do for whatever romantic reasons. What I want to say is that the line between the human and the animal passes through this very creature, be it Oedipus the King or Oedipus the Horse. The negation starts from the animal that in the Oedipal situation (or any exceptional situation) takes the side of the human and attacks the animal that it is. Even if, according to the laws of nature, horses do not kill themselves, there will be at least one that does. This gesture is excessive, it cannot be measured in a positive way, therefore neither science nor law can deal with it — but art and literature can.

Once they lost their sacredness, animals got human laws and prosecution instead. Animal sacrifice was replaced with lawsuits, persecution, and excommunication as humanism was built on the exclusion of animals to prove human superiority. But the successful opposition to this new juridical attitude toward animals and the arguments it was based on came with its own paradoxes. How did these contradictions play out, especially in the inclusion/exclusion game? Can you provide an example of what you’re describing here?

It’s not easy to decide what would be more humanist: to charge a pig that bit a child with a criminal assault and behead it in the main square, or to defend it by saying that a pig cannot be condemned, because it lacks intelligence, morality, and, therefore, is outside the law. Here lies the paradox: from our perspective, medieval animal trials look simply preposterous, while the position of their humanist advocates is easier to understand. But isn’t it that precisely within the logic of the latter the culture of slaughterhouse becomes possible? Although it is based on the idea of hierarchy of God’s creatures, Christian universalism still thinks of animals and humans in terms of certain continuity, where the word of God, and consequently the law, is potentially accessible and translatable for everyone. A community can sentence a pig to death or excommunicate a group of mice while an individual like Saint Francis of Assisi can preach to birds. I was thinking about this as I was participating in Go and Stop the Progress, a performance organized by our art collective Chto Delat this summer in Berlin and dedicated to the idea of conviviality (a term introduced by the Croatian-Austrian philosopher Ivan Illich to designate a creative intercourse of persons with their environments). During rehearsals, one of the performers brought a dog that joined the process and went very well with the movements of the other participants. While some were saying that the dog “feels” the choreography of the play and must therefore take part in the performance itself, others were more skeptical, pointing out that it is still an animal that can get scared or too excited. The risk was taken and, unsurprisingly, the dog performed successfully. I had my own role too, reading a philosophical lecture while lying on a table that echoed the psychoanalytic couch — it was a mixture of lecture and confession. As the action took place outside, I saw the sky and beautiful birds that were my audience. So, in a way, I was lecturing to the birds, but it did not look like they listened to me. We can pretend that we are talking to birds or moving together with dogs, but we do it for the human observer. We are playing for the audience, but animals are not — they are, I would say, playing for real. This is something we can learn from animals, once we manage to change the rules of the universalist game, but without its complete abolishment. We are all animals speaking different languages; and translation, if possible, must be found not in the practices of inclusion through violent repression, but in arts, in performance, in interactions between species that are difficult, if not impossible, to formalize — like friendship, comradeship, love, and care. It sounds very utopian, as the entire capitalist system is based on the slaughter system, but things can change, and we ourselves are the things that can and do change.

As soon as poverty was criminalized as crime against the bourgeois order, misery was no longer a sign of sanctity. Instead, it became a sign of madness and, consequently, humans who were not able or willing to work were treated as outcasts and confined in asylums bearing unnerving similarities to menageries. Against this rather hostile background, what was at stake for animals in particular?

I have to admit that Michel Foucault’s History of Madness (Histoire de la folie à l’âge classique, 1961) was one of my main sources of inspiration, along with Aristotle’s History of Animals (I’ve deliberately borrowed my title from him) and Georges Bataille’s History of Eroticism (L’Histoire de l’érotisme, 1951) — these are the three elephants on the backs of which my own History of Animals stands. Against the background of classical reason that affirms itself through radical exclusion of all those who do not fit into the new bourgeois order, animals play a specific role. In order to better explain this role, I will refer to Foucault’s Order of Things (Les mots et les choses: Une archéologie des sciences humaines, 1966), where he also analyzes Las Meninas (1656) by Diego Velázquez. In this painting, we see the young infanta and her entourage: maids of honor, a chaperone, a bodyguard, two dwarfs, a dog, the artist himself working with a canvas, and the queen’s and king’s mirror images. For Foucault, Las Meninas shows how man emerges as the new episteme. The man who represents and recognizes himself in the mirror is quite recent — he is only a couple of centuries old, as he is a product of the classical era. There is one figure there that deserves a special consideration in our context: the dog. Pavel Dmitrievich Tishchenko wrote an article about this dog. “What is its breed?” (answer: a watchdog) and “What does it watch for?” are questions already discussed by Foucault. Tishchenko pays attention to another detail: the dwarf is about to kick the dog out of this family portrait. Not only the dog itself, but also the gestures toward it are significant. The dog does not only watch over the infant and her entourage, but also over itself, its own dogness, animality, and wilderness, which are monitored by domestication. What the dog watches over is not a human being but an animal ready to get wild at any moment. I think this is a good illustration of the classical exclusion of animality on which the exclusion of madness and poverty, in a Foucauldian sense, is based. But nowadays poverty has been rehabilitated. In the 20th century, bourgeois morals were compromised, and now even the richest often demonstrate a kind of poverty chic. Madness, too, has been rehabilitated — we are allowed to be crazy, to get wild, et cetera. On the other hand, reason is much less celebrated. It is as if capitalist humanity realized that the exclusion is not possible, that madness, poverty, and animality are always and already here — whenever we try to kick them out, they return.

You’re arguing that “we need only go back to the passage from the radical Cartesian exclusion to the radical Hegelian inclusion, where the animal first appears as subjectivity.” With animals being denied the possession of their own life and death, how is the animal subjectivity supposed to survive or even go beyond the frame imposed by human consciousness without literarily and metaphorically dying along the way?

Why is Hegelian inclusion radical? Because it is a dialectical machine. It differs from the other kind of inclusion based on the commonsensical logic of identity that I do not share (according to which the animal other is conceived as a positive entity different from myself). First of all, it was Georg Wilhelm Friedrich Hegel’s lesson that the self can only be formed in the process of self-alteration or becoming other. And this is what all animals share, driven by the force of negativity. In the logic of identity, the act of inclusion is necessarily accompanied by another exclusion (we include some animals in the domain of rights, but exclude others for whatever reasons; animal others resemble us, therefore we go vegan and only eat plants just like other animals do), whereas the dialectical logic of self-alteration is really all-inclusive. But this is an inclusion through negation — it includes all, but only as negated. There are two terms of the opposition, animal and human, and mediation between them. The death of the animal as the beginning of human consciousness is an extreme example of such mediation as negation. Of course, there are a lot of things here to which contemporary (i.e., post-Nietzschean) philosophy is hostile. First of all, the Hegelian system keeps all traditional hierarchies. At a deeper level, this all-inclusive system, under the term totality, was actively criticized in the 20th century — this totality was associated with enclosure and unity which did not fit the new ideals of openness and multiplicity. The Hegelian principle of negativity was the first thing to be rejected by affirmationism, the theory (labeled by Benjamin Noys) that takes being as something positive — if there is negation, there should be first something to negate, whereas for Hegel, negation comes first. How is this possible? And here lies Hegel’s special understanding of time that embraces such a thing as retroaction. Negation does come first, and it defines what has been negated and what thus appears retroactively. This is how dialectical time moves: the end precedes the beginning. Something happens only when it is remembered, upon its end. Therefore truth, for Hegel, becomes indistinguishable from death. Such an idea of dialectical time is very counterintuitive, but if we appreciate it, we might start to understand how to handle this world that always already reveals itself as post-apocalyptic. It is not only that, in our anthropocentric, slaughter-based world, animals literally die on the way for the humans’ well-being. In a sense, we animals also “die” on the way to ourselves — not even metaphorically but structurally. We still have to understand this structure that lies deeper than the layers of everyday practice where we thought we could simply change or reject it. A better way to grasp this structure is suggested by psychoanalysis, namely by Sigmund Freud and Jacques Lacan. In this, I am close to the Ljubljana school of psychoanalysis — I am trying to read Hegel with Freud. The chapter on Hegel ends with a reference to Franz Kafka’s philosophical dog, both as Freudian and Hegelian, the dog of science, of the experience of consciousness (Hegel) and, at the same time, of the unconscious (Freud).

Even if the popular narratives of capitalism try to make invisible or even violently erase the presence of animals from modern life, the fact remains that our very survival as a species is still based on animal slavery. But placing animals at the center of the analysis may not sit well with some, as it disperses the focal figure of the human laborer. Could you elaborate on the idea of the animal having an “unemployed negativity”?

In The History of Animals, I do not expand on the topic of slavery, but two years ago, I published an article where I analyzed the nonhuman aspects of slavery in the context of Hegel’s master-slave dialectic. I proceed from the fact that contemporary capitalism is still grounded in slave labor, even if officially, slavery is already abolished. I do not only mean animal labor, neither do I use this term metaphorically, to designate the burnout state of humanity at the beginning of the 21st century with its layers of (self-)exploitation. I mean real slavery, the so-called human trafficking, using unpaid labor of children, women, people in poor countries, sexual workers, illegal migrant workers, et cetera. What these people share is the nonhuman condition in which they work as their living is generally reduced to only this: work. Slavery starts by dehumanizing the one supposed to work for the master. In Alexandre Kojève’s interpretation of Hegel’s dialectic, mastery is linked to human dignity — the master is the one who is recognized (as a human being, as a citizen). On the empirical level, we see that people whose labor equals slavery experience trouble getting recognized (i.e., their status as citizens is vulnerable). As there is a general confusion between human rights and citizen rights, their trouble starts from this very point: if they are not citizens of a given state, the state cannot guarantee their human rights. Dehumanizing is and always was a precondition of slavery; animal slavery was, in this sense, the model for the human one. It was Bataille who paid attention to the fact that animals do not actually work. This sovereignty, as it was called by Bataille, was very important for the prehistoric people who, for this very reason, worshipped animals: while humans had to work hard in order to survive, the idleness of animals was considered to be the sign of divinity. In a way, we still worship this idleness. For instance, the cult of cats in contemporary mass culture: what is so admirable about them is that they look idle, indifferent, and somewhat imperious. Our attraction to these creatures is caused by the waste of sovereignty that they are appointed to symbolize. For Bataille, slavery is a human thing, not an animal one. The animal stays essentially free, even in captivity or bondage.

You use Bataille’s “animality is immediacy or immanence” as a starting point for a chapter devoted to the silent and somehow conforming animality of the fish. What traits would best pin down this “dialectics of the fish,” as you’ve called it?

Immediacy and immanence are other aspects of animality discussed by Bataille, who gets close to Martin Heidegger when talking about animals that live in their environment without noticing it. But if for Heidegger the immanence of animal being is linked to its intrinsic poverty, for Bataille immanence points to excess and freedom. When I claim that Bataille’s animals are essentially free, I keep in mind that he is talking about animal freedom in two senses: that of sovereignty, and that of immanence. Bataille is exceptional as he is both a Hegelian and an anti-Hegelian, sometimes even within one and the same sentence. On the one hand, there is a plan of immanence (to use a Deleuzian phrase) or positive continuity that does not know ruptures. For Bataille’s animals such continuity is the one of the natural being. On the other hand, the animal’s sovereignty points to the order of negativity and the movement beyond one’s restraints. In the chapter dedicated to the dialectics of the fish, I am trying to connect these two contradictory freedoms. I give some examples from the history of philosophy and literature, where fish in water is used as an illustration of the idea of immanence or being that coincides with essence. Thus I create a kind of philosophical narrative about the fish that eventually comes ashore. The latter is a Marxian fish: if its essence is the water of the river, it cannot really coincide with its being as the river gets polluted, et cetera. This fish simply cannot stay in water as the continuity of its environment is broken. According to Karl Marx, proletarians are in the same situation as the fish: that’s how they become revolutionary. It’s not that they simply do not want — they just cannot stay in their “water.” I see this political potency in animals. It is not an obvious thing, as there is nothing commonsensical about it. Fish will not come ashore in order to make a political claim — only its death by pollution casts it ashore. Could this death become the beginning of consciousness? If not, the cause is lost. A planetary revolution is not a matter of individual species, as it claims interspecies solidarity, or “solidarity with nonhuman people,” as Timothy Morton argues.

In Andrei Platonov’s work, the anthropocentric perspective reigns supreme his animals are humans in disguise, tortured by their unrecognized intellect, imprisoned in bodies and contexts that do not escape the “natural law”: at the end of the day, some still have to be eaten by others. But this poverty of animal life comes with nature’s desire for change (i.e., the becoming-fish of Platonov’s fisherman) in which profound boredom (the Russian toska) plays a distinctive role. Switching from narrative to political mode, what would this desire for change most likely translate into?

Platonov’s writings present a radical revolutionary humanism as well as a kind of untimely, premature posthumanism. Maybe his idea that animals are prisoners in their own bodies, desiring happiness and a better future, is the closest to what I argue about the political potential of the animal subjectivity. This potential can only be actualized in a kind of interspecies communist politics: at the beginning of the 20th century, in post-revolutionary Russia, Platonov was perhaps one of its first proponents. The idea that revolution must be not only international, but planetary, comes from the Russian cosmists who influenced Platonov — not only the society, but nature, too, is waiting for change. We should change the world as soon as possible, says one of his characters, otherwise even animals are getting insane. Toska, the Russian boredom, is the form of this insanity as one simply cannot stand the situation when nothing happens. It is a negation of a present that is getting unbearable. Platonov’s lesson is that not only humans, but animals and plants are bored up to that point. I think this theory is very relevant today.

The History of Animals: A Philosophy is an attempt to erase the line between humans and animals (not from an ethical perspective, but a genealogical one), and produce a telling history of animality when much of the current discourse around the “animal question” is wrapped in sentimentality and affect. It gestures toward the possibility of animal subjectivity even when co-opted into our own subjectivity or prodded into symbolism but, most significantly, it complicates the assumption that animals neither live unhistorically nor with historical passivity. In your work, you advance the concept of acceptance through negativity. How does this concept operate when coming to terms with our own animality? And would this acceptance through negativity ultimately entail the corrosion of Friedrich Nietzsche’s “human, all too human” paradigm?

I want to be clear: by accepting our animality, I do not mean going back to nature, being natural, listening to one’s nature — nothing of this kind. It is not about yoga, biological products, sexual freedoms, sports, and other more or less commercialized practices of self-care performed by contemporary bourgeois individuals. By accepting the animal that I am, I mean a movement toward self-alteration or dis-identifying that implies separating from the position of power. As long as I recognize the structure where the paradigm of “we” versus “they” (animals, migrants, women, aliens, zombies, communists, criminals, et cetera) exists, I join “them” — be it symbolically, performatively, or even sentimentally and affectively (why not?). The attempt to go beyond individuality, to use my humanness merely as a point of departure or a bearer of the other, is not safe, as it breaks my autonomy, but this might be the way to the sovereign being beyond the human. The animal is already here, typing these letters, but to set it free requires a lot of theoretical and practical work that cannot be done in solitude: for this, a collective of various creatures is needed. How to create this collective and how to be a part of it — this is the question for the future interspecies politics.

¤

M. Buna is a freelance writer with work featured in Full Stop, Hong Kong Review of Books3:AM Magazine, and elsewhere.

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The Second Front Door: A Poem

This poem will appear in a future issue of the LARB Print Quarterly Journal

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¤

 

 

 

The Second Front Door

            — after Dr. Christine Blasey Ford’s testimony

 

What is a house
if not a home a horror

a whore could leap out
any time from a virgin’s
skin            so they said before burning

the hand over her mouth

knock knock who’s there
what is a door
if not a way out
only a way in       oh you
can never leave     the way
you came
after we’re finished
the hand
over your mouth

what is an attic what
a basement and knock knock
the family room the trophies
the TV the hearth
in the ‘80s there are certain options
the cable box              knock knock

who’s there
no second door
and a hand over her mouth

no second door
& no clear way out
from the bedroom
on the second floor
and a hand over her mouth

the bathing suit a single piece                                 
the birthday suit a single piece
a butcher could scan for places to joint

knock knock
who’s there
a terrible thing
at the edge
of a laughing eye

even you see it
you there
in the room you there
looking away

can we work this out
at the gym 
can we score and score
again and always win

can we work this out
through the law
can we unveil a truth
in the agora

and when the architect says what
what do you want      & oh
you want an irrational thing
no design no plan includes it
never before
knock knock who’s there
at the second front door

there’s a tightness in my unraped chest
a drunken flex in his anus                                                   
the best of the best
what is between us
between men
& boys and girls
pejorocracy rising
polis oikos eros eris
why don’t you look at me look
look at me at look at this
second front door

I do not choke down
these words
the schoolchildren draw
a modal house
and never oh never
in the house that jack built
the schematic house
with one or two floors
some windows, a roof, a door
is there oh is there
a second front door

no no never before
had anyone heard
of a second front door

don’t you see it now
see it now
built in the mind
the second front door

 

¤

Maureen N. McLane is the author of five books of poetry, most recently Some Say (FSG, 2017). Her selected poems, What I’m Looking For, is coming out from Penguin UK in 2019.  She salutes Dr. Ford, her courage, her integrity, and her civic commitment. 

 

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