Marx’s Inferno: the political theory of Capital (William Clare Roberts)

Marx’s Inferno: the political theory of Capital
Author	William Clare Roberts
Publisher	Princeton University Press
First published	2017
Type	Book

C H A P T E R 1

Introduction: Rereading Capital

When word of his death reached New York City, “representatives of the various trades, labor, social, and other organizations” issued a public statement proclaiming that “now it is the duty of all true lovers of liberty to honor the name of Karl Marx.” This call has become, over the course

of the twentieth century, nigh unintelligible. “Liberty” has become the shibboleth of antisocialism and anticommunism. That Marx was ever taken to be a devoted advocate of “the liberation of all downtrodden people,” as these laborers and socialists claimed, seems, not antiquated, but bizarre. Justice, certainly. Progress. Science. Equality. Universal solidarity. But liberty? What has Marx to offer “all true lovers of liberty”?

If this book is to accomplish one thing, it ought to make this eulogy seem not only intelligible but also sensible and reasonable. Marx’s critical theory of capitalism diagnosed the rule of capital as a complex and world- spanning system of domination. He sought, in Capital, to analyze the mechanisms of this system and to reconstruct a notion of freedom adequate to its abolition. In order to be properly appreciated, Marx’s Capital must be recovered as a work of political theory, written in a specific political context, but seeking also to say something of lasting importance about the challenges to—and possibilities for—freedom in the modern world.

My argument is twofold. First, I contend that, in Capital, Marx had a grand aspiration, to write the definitive analysis of what’s wrong with the rule of capital, and that he hung this aspiration on a suitably grand literary framework: rewriting Dante’s Inferno as a descent into the modern “social Hell” of the capitalist mode of production. Dante, of course, staged his own, individual, salvation story, telling us how his encounter with the evil of the world prepared his soul for its journey to blessedness. But his pilgrim was also supposed to be an Everyman, whose descent into damnation and resurrection into grace might be reiterated by all of the faithful. Marx, on the other hand, cast himself as a Virgil for the proletariat, guiding his readers through the lower recesses of the capitalist economic order in order that they might learn not only how this “infernal machine” works, but also what traps to avoid in their efforts to construct a new world.

Second, I argue that in order to understand Marx’s attempt to realize this grand aspiration, Capital is best read as a critical reconstruction of and rejoinder to the other versions of socialism and popular radicalism that predominated in France and England in the 1860s and 1870s, when Marx was composing his magnum opus. These competing discourses—the remnants of Owenism, Fourierism, and Saint-Simonianism, the social republicanism of James Bronterre O’Brien, and, most crucially, the mutualism of Pierre-Joseph Proudhon — were at the forefront of Marx’s concern when he was writing Capital. The foundation of the International Working Men’s Association (IWMA) in 1864, and Marx’s conviction that the group held the seeds of a renewal of revolutionary politics, spurred him to get his thousands of pages of manuscripts and notes into publishable form. He hoped that the book would provide the theoretical guideposts for the resurgent movement. In order for it to achieve this status, Capital had to either co-opt, undermine, or openly confront the existing theoretical commonplaces of the rival camps, which dominated the political landscape that Marx hoped his own outlook would come to occupy. Hence, in the process and for the sake of unfolding Marx’s critique of capitalism, my book examines Marx’s borrowings from and arguments against the other socialists, many of which remain sub rosa to those unfamiliar with the writers in question.

Marx’s grand ambitions and his internecine struggles are not separable from one another, either, but are thoroughly intertwined. The notion that modernity is a “social Hell” was originally suggested by Charles Fourier and his protégé Victor Considérant, and had already been developed in the works of Pierre-Joseph Proudhon into a metaphorical history of humanity’s descent into and escape from the underworld. The moral categories that structure Dante’s Hell—incontinence, force, fraud, and treachery— were common terms in the moral discourse of early socialism. Indeed, much of early socialism, as it emerged from Christian and civic republican discourses, consisted in the application of these moral categories to the social question, and this was a crucial point of contention between Marx and his more moralistic predecessors and contemporaries. Marx’s distinctiveness comes to the fore in that his opponents want either to avoid political economy, or else, like Proudhon, to remain within it. Only Marx, following Dante, sees the necessity of going through political economy in order to get beyond it. And, as in the case of Dante’s pilgrim, this transit is transformative. But Marx’s journey, unlike Dante’s, is supposed to de-personalize and de-moralize. Marx recapitulates Dante’s descent through incontinence, force, fraud, and treachery in order to show that it is capital, as a system of all-around domination, that is responsible for these evils, not the individuals dominated by capital.

Thus my book is only able to trace either of these two threads by tracing both. By considering together Marx’s context and his designs, this study shows how Marx’s fights with other socialist theorists in the early years of the IWMA were transmuted by him into Capital, and reveals the ambition of Capital to lay bare, for the first time, the inner workings of the capitalist mode of production and the political economy that analyzes it, as a Hell into which the proletariat must descend in order to free themselves and the world.

Reading Capital as Political Theory

My argument takes its orientation from some of the literary aspects of Marx’s book—its use of tropes and metaphors, its allusions and citations. For all that, however, I do not treat Capital as a work of literature. Rather, I treat it as a work of political theory. Its tropes, metaphors, allusions, and citations are approached as signs to be interpreted, as the linguistic traces of intuitions that can be fleshed out in theoretical terms. When socialists and communists, including Marx, call capital a vampire, they do so because the metaphor seems to them an apt one. And the aptitude of the metaphor can be discussed and articulated in language that is not itself merely an elaboration of the metaphor. The sense that capital is parasitical upon something—labor—that is both more primary to human existence and more natural and lively than is capital can be spelled out. These intuitions have their own implicit presuppositions, and these can be made explicit. The judgment against capital implied by the vampire metaphor can, by this process, come to be considered independently of the metaphor itself, and can be assessed as more or less cogent.

The metaphors, tropes, and formulas circulated within a discourse are the anchors of its common sensibility, the moments that give to an utterance an immediate plausibility or attractiveness within a certain community of writers and readers, speakers and listeners, and an immediate outlandishness to members of other communities. Political speech is often an exercise in recollecting, rehearsing, burnishing, and deploying such familiarities, for the sake of signaling one’s allegiances and rallying one’s allies. It recalls people to their prior commitments and to the shared narratives that make sense of their world by orienting them in it.

In the South Dakota of my youth, for example, it was de rigueur for political speeches and ads to refer to at least one of two scenes: a rancher riding and surveying his range, or a handful of farmers exchanging news and gathering supplies on the Main Street of a small town. The figure of the rancher bespoke the assumption that the land ought to be controlled and supervised by independent men, who could be trusted and expected to take care of things themselves. The tableau of the farming town was to remind the audience of the trust and mutual reliance that exists among neighbors, who know one another for what they are. Whether spoken, written, or depicted by actors on TV, these political tropes signaled adherence to a common sense of what political life was about— its parameters and stakes—in a sparsely populated prairie state, where the native population had been subjugated and confined to reservations and poverty, and where the upsurge of political Christianism had yet to make significant inroads. Every discursive community has such anchoring homilies.

By contrast with the mere reiteration of these metaphors and tropes, however, the attempt to articulate a nonmetaphorical discourse around them is the playing out of a rope that gives a speaker or writer some measure of mobility among communities. Rather than simply stringing together immediately plausible turns of phrase, the watchwords and catchphrases of one’s closest circle of interlocutors, a writer might try to make those watchwords and catchphrases understandable to a wider circle of readers, to explicate the sense of them, to motivate them by appeal to experiences and arguments drawn from other communities or common to many communities. By this effort, the anchoring homilies of one’s local political dialect are maintained, but are also rendered less parochial. They enter into relations with previously alien metaphors and tropes. The discourse anchored in them attains a more or less limited independence from them, a flexibility and mobility and adaptability that it otherwise would have lacked.

Political theory is, according to this way of thinking, the effort to escape being sunk by one’s own anchors. Hence, to read Capital as political theory is to show how Marx tried therein to give a more cosmopolitan sense to particular metaphors and tropes that were, in their origins,