Benjamin Kunkel

Marxism has thrived as a way of thinking about art and literature, especially at times – the 1920s or the 1990s – when Marxist economic and political thinking has gone into retreat. The headwaters of the stream lie in The German Ideology (1846), where it seems an oversight that Marx and Engels don’t name art and literature, as they do religion, metaphysics and morality, as...

Most analysts divide postwar capitalism into two periods. The first extends from the late 1940s into the 1970s. The end of the second appears to have been announced by the crisis – at first a ‘financial’ crisis, now often a ‘debt’ crisis – that broke out in 2008. The precise boundary between the postwar eras gets drawn differently depending on which feature of the terrain is emphasised. In terms of overall growth rates, it was with the recession of 1973-74 that the surge after the Second World War gave way to deceleration across the wealthy world.

Michel Houellebecq’s The Map and the Territory tells the story, from the standpoint of a future art history, of a canonical artist of the early 21st century, a Frenchman with the curiously American-sounding name Jed Martin. Such a backward-gazing Künstlerroman invites comparison with the trajectory of the author himself. And Houellebecq also includes a character bearing his own...

The deepest economic crisis in eighty years prompted a shallow revival of Marxism. During the panicky period between the failure of Lehman Brothers in September 2008 and the official end of the American recession in the summer of 2009, several mainstream journals, displaying a less than sincere mixture of broadmindedness and chagrin, hailed Marx as a neglected seer of capitalist crisis. The trendspotting Foreign Policy led the way, with a cover story on Marx for its Next Big Thing issue, enticing readers with a promise of star treatment: ‘Lights. Camera. Action. Das Kapital. Now.’

The best of Jameson’s work has felt mind-blowing in the way of LSD or mushrooms: here before you is the world you’d always known you were living in, but apprehended as if for the first time in the freshness of its beauty and horror. One of the trippier as well as more affecting passages in Valences of the Dialectic is a sort of aria on the condition of living, through global capitalism, in a totally man-made world, one in which even the weather patterns and the geological age (the Anthropocene, it was recently declared) are human productions.