Razmig Keucheyan's The Left Hemisphere: Mapping Critical Theory Today has recently appeared in its first Greek edition, published by Angelus Novus. Earlier this month, Keucheyan spoke with Tasos Tsakiroglou of Efimerida ton Syntakton about the book and contemporary critical theory — in the context of climate change, and in relation to recent European electoral contests, including the 2017 French presidential election.
In the panorama of the different critical theories that you analyze in your new book The Left Hemisphere, and despite their diversity, do you discern a common thread that unites them? and what is it?
Pessimism certainly is a common thread. None of these thinkers believes that overthrowing capitalism and replacing it with another, relatively better, system is an obvious possibility. Some of them believe it is not possible, and think “resistance” to power and “micropolitics” is our only option. This pessimism is a consequence of the tragic experiences of the 20th century, especially Stalinism.
This dialogue between Nina Power and film historian Geoffrey Nowell-Smith took place in 2012-13. It was due to be published by a film magazine, but fell through for reasons beyond the control of the authors. It first appeared online at Ninapower.net.
La ricotta (1963).
Geoffrey Nowell-Smith: Pasolini has often been described as a Catholic Marxist but his Marxism was always unorthodox and he was never a Catholic although brought up in an environment permeated by the imagery and values of Italian Catholicism. Like most people on the left in Italy in the 1950s he was strongly anti-clerical (not surprising given the profoundly reactionary role played by the Catholic Church in Italy in the period) and it is only in his poetry that another side of him appears — an identification with suffering as experienced by the oppressed and potentially embodied in the figure of Christ. Then in 1958 the election of Pope John XXIII was a massive force for change — in Italian society, in the Church, and in Pasolini himself. Catholicism became something to engage with — as myth (in the noble sense of the word), as culture, as ideology, as a political force that was not necessarily quite so reactionary as it had been or seemed to be throughout most of preceding Italian history.
Pasolini, Abel Ferrara's portrait of the last day of Pier Paolo Pasolini's life, is now out on general release in the UK. To mark the occasion, Verso presents the full text of Alain Badiou's foreword to Pasolini's unrealised St Paul, a film that "would essentially be a sequel to his film on the Passion of Christ."