Marxism A Graphic Guide by Rupert Woodfin

I was at Powell's Books in Portland, specifically in their politics section, when it hit me: looking for new books to read always makes me have to shit. This happens without fail. I didn't have time to go and resume my search after so the last book I grabbed was one with the most alluring cover: Marxism A Graphic Guide.

I'm not a huge theory guy. I feel like I actually spent a lot of time organizing with the DSA getting dunked on by people who can quote Das Kapital like the bible. I thought a graphic guide would be a good way for a time-pressed idiot like myself to learn some of the basics and defend myself from the rabid mobs of anarchists insisting that Medicare for All is fascism. 

And maybe it is, but certainly not this graphic guide. It became clear by page 74 that Woodfin is actually not a fan of Marx. The first 70 or so pages are an introduction to Marx's life and theory of value. Woodfin then pivots, saying "Marxist Theory seemed rigorous....but more or less all economists today believe Marx's theory seriously flawed, or, to put it bluntly, wrong". He then spends the next 100 pages giving massive amounts of air time to Marx's anarchist and capitalist detractors - Bakunin and Francis Fukuyama play big roles - and post Marxists like Ernesto Laclau and Chantal Mouffe. Significant time is spent talking about the authoritarianism of Russia, because of course. 

The last page of the guide has a 10-point criticism of Marxism that includes such gems as "in an interdependent, globalized world, anti-imperialism has had its day. The world is too complex", "the state as such is always dangerous and cannot deliver effective social welfare", "any form of central planning is inefficient and tends toward corruption". It's unclear if Woodfin, who taught Marxism to undergrads (his bio doesn't list where) actually believes these criticisms, but it's strange that they're included and seem to refute a theory he spends almost no time defending. 

[Martin Hagglund on Socialism]

It strikes me that Woodfin holds with neo-classical and modern economists he cites who, as the brilliant Martin Hagglund puts it, "seek to explain the value of commodities not in terms of labor time but in terms of supply and demand". Even though supply and demand seem like immutable orthodoxy, the concept doesn't reject Marx like some would think, Hagglund goes on: "the model of supply and demand confirms [Marx] argument that socially necessary labor time is the measure of value for commodities. [These concepts] cannot be understood merely in spatial terms but must be understood in temporal terms". The example I found very compelling was if water was even a fraction as difficult to obtain as diamonds, the value of water would be insane regardless of supply.  

So to be clear, Marxism a Graphic Guide is a critical guide, paying tribute to Marxism only in its influence as a critical theory of the past. The stance of the author is that we have moved beyond the need for such a theory. And also that the government is inherently evil? Anyway, the cover is still pretty damn cool and I have to give it to illustrator Oscar Zarate, the art is fun: 

The God of Small Things by Arundhati Roy

Written in devastatingly beautiful prose, Arundhati Roy's The God of Small Things starts with an immense tragedy - the drowning of a young English girl - and unravels everything before and after, traversing time and generations to do so. 

It is an intensely visual novel. It wouldn't be inaccurate to say the ultimate god of small things is Roy herself. Her descriptive form follows the narrative of the novel. If she wants to describe a room or an event, she starts by focusing in on the poetry of the smallest adjacent objects and expands out. While much of the praise The God of Small Things received, including that printed on the book, compare her to Faulkner, but I tend to think this style more original.

The words "white supremacy" or "Eurocentrism" never appear in The God of Small Things, but they play a central role in the destruction. Roy rather than baking the love of everything white and European into her characterization directly, she takes the more subtle and difficult route of integrating these concepts into the objects that make up the novel's setting, the character's clothes, the way other people interact with them, etc. 

There are tons of examples as to how fun and original this prose style can be. Anyone with Fox News loving, paranoid grandparents can relate to this passage:

"She was frightened by the BBC famines and television wars that she encountered while she channel surfed. Her old fears of the revolution and the Marxist-Leninist menace had been rekindled by new television worries about the growing numbers of desperate and dispossessed people. She viewed ethnic cleansing, famine and genocide as direct threats to her furniture.

She kept her doors and windows locked, unless she was using them. She used her windows for specific purposes. For a Breath of Fresh Air. To Pay for the Milk. To Let Out a Trapped Wasp"

Everything from the sentence casing on the uses for windows to the "direct threat to furniture" makes an enjoyable read. 

 I think one of my favorite things about Roy, on in full display writing this book, is how well she writes children. All the nuanced adorableness in their dialogue, things like "feeling vomity" or "afternoonmare", and in their view of the world. The novel focuses mostly on Rahel and Eshta; young precocious twins whose inner thoughts, expressed exactly how you would expect a child's thoughts to be, pepper the story and whose simplicity adds anything from humor to debilitating grief to any given moment. 

Of course the beauty of the style is on full display too. Without spoilers, my favorite line in the book pertains to the way the caste system destroyed the possibility of working-class solidarity in the Indian Communist movement (as demonstrated by the event central to the novel): "And there it was again. Another religion turned against itself. Another edifice constructed by the human mind, decimated by human nature". 

Absolutely stunning.