Interview with Joseph Confavreux for Mediapart on the occasion of the publication of the French translation of Communal Luxury: The Political Imaginary of the Paris Commune
Convinced that “the world of the Communards is closer to us than the world of our parents,” and that “it is actions that produce dreams and not the reverse,” Kristin Ross explores the imaginary and the practices of the Paris Commune, in order to show its political actuality today. At the juncture of a history of ideas, of imaginaries and of facts, Ross, a Professor of Comparative Literature at New York University, explores the Commune and its “afterlives,” in a book that is at once a textual study, an exploration of the thoughts and practices of Communards and their fellow travelers, and a political proposition for the present moment.
Alain Badiou reflects on some of the debates that defined his relationship with Daniel Bensaïd, his "distant companion". Read the original French interview, conducted by Ballast magazine for their Bensaïd week, here.
Photo by Maya Mihindou for Ballast.
It’s an April morning, and France’s most-discussed Red Guard leads us into his home: tall, and not without a little mischief in his eye, he takes his place on his sofa. We’d read Badiou, certainly—and he was no fan of the anarchists who held our affections—but this wasn’t about his work. Or not directly, anyway. Bensaïd was well-known to Badiou, and he immediately agreed to an interview precisely because of the "friendship" between the two. And anyway, it wasn’t really a matter of posing him questions: rather, we sprung a few expressions on him that we’d pulled from Bensaïd’s texts, asking for his view. The two of them didn’t always see eye-to-eye; and their "very major disagreements" (as Badiou describes it) fed into some of the debates that Marxists hold most dear.
This extract is from a seminar given by Alain Badiou on 25 May 2011, according to notes taken by Daniel Fischer. In it, he comments on the construction of events surrounding the initial accusations towards the then head of the IMF.
What interests me in this affair is precisely its theatrical essence. The great writer of this would have been Jean Genet. We have here, as in “The Balcony” and “The Blacks,” allegory. We are in the representation, even in the representation of representation, the representation of the mechanisms of representation (what is a president, what is a police chief?).