Henri Lefebvre: A Critical Introduction - autonomous learning
Henri Lefebvre: A Critical Introduction - autonomous learning Henri Lefebvre: A Critical Introduction - autonomous learning
a F t e r w o r d Almost a century on, progressives need the greatest caution in everything we do; we need to look around on every side before we can make a single step. The gravity of the situation isn’t lost on any of us. And yet, at the same time, there’s a sense that we should, and can, lighten up. After all, even amid the existential no-exits of Kafka, a black humor radiates, a glint of light warms a cold corner: as Kafka’s fellow countryman Milan Kundera notes in his latest book Le Rideau [The Curtain], Kafka “wanted to descend into the dark depths of a joke [blague].” 11 It was comedy that let K. deal with tragedy and let him pull back the curtain, rip it down, and tear it apart. He can still help us see what lies inside and beyond the wrapping, and H. knew it. Indeed, Kundera’s metaphor seems apt for H., who ripped down curtains suspended in front of our Kafkaseque modern world, demasked them, named what lay behind them, and asked us to look within. Lefebvre’s most Kafkaesque book is Vers le cybernanthrope (1971), where H. became a land surveyor facing the cybernanthrope’s tribunal, trapped within the confines of his rational castle, searching for a way out, confronting curtains of systematized mystification. In its corridors, the cybernanthropic last man stalks the Lefebvrian total man in a duel over our collective destiny. But it’s humor that will win out in the end. The cybernanthrope, H. says, is neither tragic nor comical: he’s farcical. He’s a product of a farcical situation and farcical events. Of course, he doesn’t see himself as farcical, because he’s rather earnest, taking seriously his duties, his realism. What’s in store for us, H. thinks, is another world war, a guerilla war that any potential total man needs to keep on waging, using as arms spirit and satire. We’ll have to be perpetual inventors, H. says, restless creators and re-creators. We’ll have to cover our tracks, engage in pranks and jokes, knock cybernanthropes off balance, keep them guessing. For vanquishing, for even engaging in battle, we’ll valorize imperfections and disequilibria, troubles and gaps, excesses and faults. We’ll valorize desire and passion, 169
H e n r i L e F e b v r e and revel in irony and comedy. We’ll use slingshots against tanks, nets against armor, clatter against chatter. We will, H. assures us, vanquish by style, a style of grand negativity and absolute subversion, of critical engagement and mocking revolt. It’s a style that can never entirely go out of fashion. Not quite. 170
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a F t e r w o r d<br />
Almost a century on, progressives need the greatest caution<br />
in everything we do; we need to look around on every side before<br />
we can make a single step. The gravity of the situation isn’t lost<br />
on any of us. And yet, at the same time, there’s a sense that we<br />
should, and can, lighten up. After all, even amid the existential<br />
no-exits of Kafka, a black humor radiates, a glint of light warms<br />
a cold corner: as Kafka’s fellow countryman Milan Kundera notes<br />
in his latest book Le Rideau [The Curtain], Kafka “wanted to<br />
descend into the dark depths of a joke [blague].” 11 It was comedy<br />
that let K. deal with tragedy and let him pull back the curtain, rip it<br />
down, and tear it apart. He can still help us see what lies inside and<br />
beyond the wrapping, and H. knew it. Indeed, Kundera’s metaphor<br />
seems apt for H., who ripped down curtains suspended in front of<br />
our Kafkaseque modern world, demasked them, named what lay<br />
behind them, and asked us to look within.<br />
<strong>Lefebvre</strong>’s most Kafkaesque book is Vers le cybernanthrope<br />
(1971), where H. became a land surveyor facing the cybernanthrope’s<br />
tribunal, trapped within the confines of his rational castle,<br />
searching for a way out, confronting curtains of systematized mystification.<br />
In its corridors, the cybernanthropic last man stalks the<br />
Lefebvrian total man in a duel over our collective destiny. But it’s<br />
humor that will win out in the end. The cybernanthrope, H. says, is<br />
neither tragic nor comical: he’s farcical. He’s a product of a farcical<br />
situation and farcical events. Of course, he doesn’t see himself as<br />
farcical, because he’s rather earnest, taking seriously his duties, his<br />
realism. What’s in store for us, H. thinks, is another world war, a<br />
guerilla war that any potential total man needs to keep on waging,<br />
using as arms spirit and satire. We’ll have to be perpetual inventors,<br />
H. says, restless creators and re-creators. We’ll have to cover<br />
our tracks, engage in pranks and jokes, knock cybernanthropes off<br />
balance, keep them guessing. For vanquishing, for even engaging<br />
in battle, we’ll valorize imperfections and disequilibria, troubles<br />
and gaps, excesses and faults. We’ll valorize desire and passion,<br />
169