Published in 2000, Without Guarantees — edited by Paul Gilroy, Lawrence Grossberg, and Angela McRobbie — brings together more than 30 essays inspired by, or written in honor of, the great cultural theorist Stuart Hall, who died three years ago this week. "It is appropriate," the editors write in their preface:
given the spirit of Stuart's own commitments that this volume has a second, subsidiary purpose. Cultural studies have been subjected to much abuse lately and the fragile institutional initiatives with which those words are entangled are now under great and growing pressure. In these circumstances it seemed right to try to make this public gift a modest interventionist act in its own right. Here then are some implicit and explicit reflections on what cultural studies can be and what it might become.
Below, we present one of the essays collected in the volume: Wendy Brown's now classic reflection on Hall and the condition that Walter Benjamin termed "left melancholia." First published in boundary 2 in 1999, Brown's essay spurred a debate that has continued through the present day.
via Stuart Hall Foundation
“In every era the attempt must be made anew to wrest tradition away from a conformism that is about to overpower it. ... only that historian will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins.”1 Walter Benjamin
It has become commonplace to lament the current beleaguered and disoriented condition of the Left. Stuart Hall is among the few who have tried to diagnose the sources and dynamics of this condition. From the earliest days of the rise of the Thatcher-Reagan-Gingrich Right in Europe and North America, Hall insisted that the “crisis of the Left” in the late twentieth century was due neither to internal divisions in the activist or academic Left nor to the clever rhetoric or funding schemes of the Right. Rather, he charged, this ascendency was consequent to the Left's own failure to apprehend the character of the age, and to develop a political critique and a moral-political vision appropriate to this character.
The Verso Book of Dissent: Revolutionary Words from Three Millennia of Rebellion and Resistance is a compendium of revolt and resistance throughout the ages, updated to include resistance to war and economic oppression from Beijing and Cairo to Moscow and New York City.
To celebrate the release of the new edition - 50% off at the moment as part of our end-of-year sale - we've present a selection of key moments of dissent from the book.
Howard Caygill, Professor Of Modern European Philosophy at Kingston University and author of the forthcoming Kafka: In the Light of the Accident (Bloomsbury, 2017), Sara Salih, Professor of English at the University of Toronto, and Matthew Charles, Lecturer in English, Linguistics and Cultural Studies at the University of Westminster, joined The Storyteller’s editors and translators, Sam Dolbear, Esther Leslie and Sebastian Truskolaski, for a special event to launch Walter Benjamin's fiction collected in English translation for the first time.
To mark the publication of Stuart Jeffries' Grand Hotel Abyss: The Lives of the Frankfurt School we'll be posting excerpts and pieces related to Frankfurt School thinkers throughout the week, as part of our Frankfurt School Bookshelf. All books, including Grand Hotel Abyss: The Lives of the Frankfurt School, are 40% off until Friday September 23rd.
Below is a short essay on train station novels written by Walter Benjamin for Frankfurter Zeitung in 1930, collected in The Storyteller, and translated by Sam Dolbear, Esther Leslie and Sebastian Truskolaski.
Very few people on the train read books which they have taken from their shelf at home, preferring, instead, to buy something that presents itself at the last minute. They mistrust the appeal of novels that have been earmarked in advance, and rightly so. Furthermore, they may set store by making their purchase from the colourfully decorated trolley right on the tarmac of the platform. After all, everyone knows the cult to which it bids. At one time or another everyone has reached for the swaying tomes that it displays, less out of a pleasure in reading them than out of the dim sense of doing something to please the gods of the railway.