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Sea and Earth

The far right wants to decolonize. In France, far-right intellectuals routinely cast Europe as indigenous victim of an ‘immigrant colonization’ orchestrated by globalist elites. Renaud Camus, theorist of the Great Replacement, has praised the anticolonial canon – ‘all the major texts in the fight against decolonization apply admirably to France, especially those of Frantz Fanon’ – and claimed that indigenous Europe needs its own FLN. A similar style of reasoning is evident among Hindu supremacists, who employ the ideas of Latin American decolonial theorists to present ethnonationalism as a form of radical indigenous critique; the lawyer and writer Sai Deepak did this so successfully that he managed to persuade decolonial theorist Walter Mignolo to write an endorsement. Meanwhile in Russia, Putin proclaims Russia’s leading role in an ‘anti-colonial movement against unipolar hegemony’, with his foreign minister Sergei Lavrov promising to stand ‘in solidarity with the African demands to complete the process of decolonization’.

The phenomenon goes beyond the kinds of reversal common to reactionary discourse. A decolonial perspective is championed by the two foremost intellectuals of the European New Right: Alain de Benoist and Alexander Dugin. In the case of de Benoist, this involved a major departure from his earlier colonialist allegiances. Coming to political consciousness during the Algerian War, he found his calling among white nationalist youth organizations seeking to prevent the collapse of the French empire. He praised the OAS for its bravery and dedicated two early two books to the implementation of white nationalism in South Africa and Rhodesia, describing South Africa under apartheid as ‘the last stronghold of the West from which we came’. Yet by the 1980s, de Benoist had shifted course. Having adopted a pagan imaginary and dropped explicit references to white nationalism, he began to orient his thought around a defence of cultural diversity.

Against the onslaught of liberal multiculturalism and mass consumerism, de Benoist now argued that the Nouvelle Droite should struggle to uphold the ‘right to difference’. From here, it was a short distance to claiming a belated kinship with the plight of Third World nations. ‘Undertaken under the aegis of missionaries, armies, and merchants, the Westernization of the planet has represented an imperialist movement fed by the desire to erase all otherness’, he wrote with Charles Champetier in their Manifesto for a European Renaissance (2012). The authors insisted that the Nouvelle Droite ‘upholds equally ethnic groups, languages, and regional cultures under the threat of extinction’ and ‘supports peoples struggling against Western imperialism’. Today, the preservation of anthropological difference and a sense of indigenous fragility are common tropes on the European far right. ‘We refuse to become the Indians of Europe’, proclaims the manifesto of the neo-fascist youth group Génération Identitaire.

Dugin, a close associate of de Benoist, has integrated this decolonial spirit into his worldview even more deeply. His system of thought ­– what he calls neo-Eurasianism or The Fourth Political Theory – is underpinned by a critique of Eurocentrism derived from anthropologists such as Lévi-Strauss. Russia, he claims, shares much with the postcolonial world: it, too, is a victim of the assimilating drive inherent to Western liberalism, which forces a world of ontological diversity into a flat, homogeneous, de-particularized mass (we can think of Renaud Camus’s ‘Undifferentiated Human Matter’ or what Marine le Pen called ‘the flavourless mush’ of globalism). Contra this universalizing agenda, Dugin asserts, we live in a ‘pluriverse’ of distinct civilizations, each moving according to its own rhythm. ‘There is no unified historical process. Every people has its own historical model that moves in a different rhythm and sometimes in different directions.’ The parallels with the decolonial school of Mignolo and Anibal Quijano are hard to miss. Each civilization blossoms out of a unique epistemological framework, but such efflorescence has been stunted by the ‘unitary episteme of Modernity’ (Dugin’s words, but they could be Mignolo’s).

Modernization, Westernization and colonization are ‘a synonymous series’: each involves imposing an exogenous developmental model upon plural civilizations. That the ethnonational identities Dugin defends are artefacts of the colonial production of difference – the racial regimes through which it differentiates, categorises, and organizes exploitation and extraction – is not considered. Nor, for that matter, is the quintessentially modern character of many anticolonial movements, which sought not to return to a traditional culture but rather to remake the world system. As Fanon put it, decolonization could neither renounce ‘the present and the future in favour of a mystical past’ nor base itself on ‘sterile litanies and nauseating mimicry’ of a debased Europe that was, at the time he was writing, ‘swaying between atomic and spiritual disintegration.’ 

Dugin and de Benoist are unfazed by such contradictions. ‘The Fourth Political Theory has become a slogan for the decolonization of political consciousness’, Dugin claims, whose first practical expression is Russia’s invasion of Ukraine. This is understood as a long-awaited struggle in the reunification of Eurasia, an ancient pan-Slavic civilization dismembered by Western designs, but also the first stage in what he calls the Great Awakening, a millenarian battle to overturn the liberal world order and usher in a multipolar world. Dugin envisages a coalition of movements across the world participating in this battle: ‘American protestors will be one wing and European populists will be the other wing. Russia in general will be the third; it will be an angelic entity with many wings – a Chinese wing, an Islamic wing, a Pakistani wing, a Shia wing, an African wing and a Latin American wing’. But isn’t the war in Ukraine an imperial war, or a war of ‘competing imperialisms’, as Liz Fekete put it? Dugin would agree. Russia’s invasion of Ukraine is a key step in its ‘imperial renaissance’.

How is it possible to speak the language of imperial renaissance and decolonization in the same breath? Here, Dugin and de Benoist draw their principal resources from Carl Schmitt. In his writings on geopolitics, Schmitt identifies in the ‘sea power’ of the Anglo-American maritime empires a particular kind of imperial domination – one that is dispersed, deterritorial, floating, financial, liquid. Sea power breeds a scattered empire lacking in territorial coherence and generates a spatial-juridical framework that reads the surface of the earth as merely a series of traffic routes. This imperialism also generates its own epistemology: ‘The juridical way of thinking that pertains to a geographically incoherent world empire scattered across the earth tends by its own nature towards universalistic argumentation’, Schmitt writes. Under the guise of abstract universals such as human rights, this imperium ‘interferes in everything’. It’s ‘a pan-interventionist ideology’, he writes, ‘all under the cover of humanitarianism.’

Against the deterritorial imperium, Schmitt opposes what he considers to be a legitimate, territorial imperialism. This is based around his concepts of the Grossraum and the Reich: a Grossraum can be understood as a civilizational bloc, while the Reich is its spiritual, logistical and moral centre. As Schmitt writes, ‘every Reich has a Grossraum into which its political idea radiates and which is not to be confronted with foreign interventions’. If the imperium corresponds to an ‘empty, neutral, mathematical-natural scientific conception of space’, the Grossraum involves a ‘concrete’ conception inseparable from the particular people that occupies it. This territorial notion of space, Schmitt writes, ‘is incomprehensible to the spirit of the Jew.’ As de Benoist proclaims: ‘The fundamental distinction between the earth and the sea, the land and sea powers, which define the distinction between politics and trade, solid and liquid, area and network, border and river, will become more important again. Europe must stop being dependent on US sea power and be in solidarity with the continental logic of the earth.’ Land is being colonized by water, the heartlands by the port cities, sovereign authority by flows of transnational capital.

With this opposition between the imperium and the Grossraum, Schmitt’s thought provides an impressive realignment: territorial empire-building becomes compatible with a certain anticolonial sentiment. In Dugin and de Benoist’s recent writings, ‘colonization’ is a despised deterritorial affair, while ‘imperialism’ is reserved for a more noble, territorial form of expansion. Colonialism thus comes to mean less a phenomenon of political or military domination than ‘a state of intellectual enslavement’, in Dugin’s words, less a matter of territorial annexation than a form of subjection to ‘colonial ways of thinking’. It is the ‘sovereignty’ of minds, words and categories that is violated. Colonialism dominates the world by stripping away identities: no more women, only Gender X (to use Giorgia Meloni’s terminology). It is ‘ethnocidal’ at its core; cultural erasure and demographic replacement are its principal tools. ‘Military, administrative, political and imperialist colonizations are certainly painful for the colonized,’ Renaud Camus tells us, ‘but they are nothing compared to demographic colonizations, which touch the very being of the conquered territories, transforming their souls and bodies.’

With the meaning of colonization transformed to refer to shifting migration patterns (wrought by nothing other than the colonial structure of the global economy), changing gender norms and a homogenizing liberal culture, the far right can present themselves as champions of popular sovereignty and the self-determination of peoples. They can also stage an imaginary struggle against the ravages of transnational capital. To decolonize, for these thinkers, is to split off one kind of capitalism from another, a procedure well established within far-right thought. A globalist, rootless, parasitic, financial capitalism (imagined now as colonial) is separated from a racial, national, industrial capitalism (imagined as self-determining, or even decolonial). It goes without saying that such a separation is illusory: global systems of capital accumulation, with their entwined processes of immaterial speculation and earthly extraction, cannot be decoupled in this way. But separating the inseparable does not seem to pose a problem for reactionary thought. Indeed, it may be crucial to it. For once an imaginary antinomy has been constructed, one can disavow the hated side of it, and in this way seem to gain mastery over one’s own riven interior.

Read on: Jacob Collins, ‘An Anthropological Turn?’, NLR 78.

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In Pieces

The fictions of the Croatian novelist Daša Drndić are catalogues of a shattered humanity. Families, communities, countries. Broken social orders beget broken lives. In her greatest work – among them, Trieste (2007), Belladonna (2012) and EEG (2016) ­­­­– fragmentation is everywhere. Personal episodes convolve with historical interpolations and primary documents – lists, epitaphs, inventories, recipes, instructions, ledgers, receipts; syntactic fragments are presented as standalone sentences; lines begin in the lower-case, as if severed from larger notions. Layout, as well, is wrenched to the theme: the splintered stories of young Printz in Doppelgänger are divided by the cutting lines found on paper worksheets, or the body awaiting the scalpel. In EEG, the final novel Drndić published before she died in 2018, a character describes the human body as no longer having borders: ‘it is dismembered, scattered, wild, but again, preserved in pieces’.

Is this state of fragmentation a hallmark of existence, or product of a particular social order? Drndić believed that the ‘boring linear construction’ of bourgeois literature merely sustained an illusion that lives are ‘coherent, seamless, with the stitching not showing and everything appearing to be smooth and logically constructed’, as a character in Belladonna (2012) puts it. Yet, Drndić’s work is at the same time inseparable from the Balkans and its history. In her most recently translated novel, Battle Songs, originally published in 1998, the protagonist, Tea Radan, flees Yugoslavia during the internecine wars of the 1990s, along with her precocious young daughter Sara, to find refuge in Toronto. Differing circumstances might allow them to mend what was broken elsewhere – if nothing else, Battle Songs disabuses the reader of this expectation.

Tea’s hardships in Toronto are sadly predictable. Western bigotry misses its target: mandated to visit a tuberculosis clinic, Tea reads ‘ARABS GO BACK TO BOSNIA!’ tagged on its walls. She spends her days working bad, temporary jobs while worrying about the welfare of her daughter. Tea joins the ranks of other disillusioned refugees underwhelmed by the offerings of liberal capitalism: a Bosnian, formerly a professional violinist, solicits business door-to-door with a sack of cheap toys; an ‘economist by training’ who once allocated social security payments in Yugoslavia, now collects them; a Croatian professional in ‘marketing and tourism’ abandons his search for work, bitterly concluding that the reason Canada accepts so many immigrants is that ‘they need cheap manpower’.

The deeper inadequacy of Tea’s new existence is spiritual. It’s a theme common to the literature of the refugee, where gaps in present experience are filled by the miseries and banalities of the past. Working at an illegal envelope-stuffing operation on the wintry fringes of the city, Tea, overwhelmed by unbidden memories, asks her boss for a distraction:

Couldn’t we have a bit of music? I asked at half past three, hoping that would help drive out the thoughts that were thumping in heavy, leaden lumps into the depths of my skull in crazy succession and at speed. I felt an unpleasant, almost painfully rhythmic drumming in my temples. For a long time, there was a rumour that Hitler was a vegetarian, because he was sometimes overcome by an insatiable desire for vegetarian dishes.

The reader learns to interpret these non sequiturs as reflexive masochism. Tea’s frequent flights into Croato-Serbian history similarly demonstrate that she can escape her present only through delving into the past.

The Serbian statesman Mihailo Crnobrnja once described Yugoslavia as a country of ‘seven neighbours, six republics, five nations, four languages, three religions, two scripts, and one goal: to live in brotherhood and unity’. Tea’s recollections of her time in Yugoslavia present a confounding social portrait. By landmarks and language alone, the reader might locate her in a different country entirely. As a child in Rovinj, Croatia, she noticed that the main street was called ‘Belgrade Street’, its only cinema ‘Belgrade Cinema’. Eventually they move to Belgrade, where Sara’s school workbooks used ‘Serbian terms for chemistry and history, the seal was half in the Latin script, half in Cyrillic, and the language being learned was called Serbo-Croato-Slovene’. Tea reports that the experience of returning from Belgrade to Croatia ‘did not differ fundamentally’ from their later journey to Toronto. In some respects, the culture shock was harder to weather. Tea was warned to ‘tone down that Serbian accent’ and found it necessary to relearn ‘a language that would make my presence in my own country legitimate’.

Whereas Tea describes Sara and herself as ‘adaptable’ to such social volatility, her father is not. A passionate communist in his youth, when Tea would return from Belgrade to visit she found him ‘reduced’, rendered passive and nostalgic:

Before every parting, my father lays out on the kitchen table old letters, photos, newspaper clippings, political tracts. He brings them out and shows me what I have seen innumerable times, what I remember clearly, because what my father lays out in front are in fact mementos of a past life that has marked our whole family…Photographs of my mother. My letters to him. Printed articles, reviews, stories…

A sorrowful image that ritually emerges in Drndić’s writing. The word ‘reduced’ is translated from the Croat smanjen (literally, diminished) which Tea also uses to describe her cremated mother, held in a ‘small, cheap black urn made of tin’. Whether a citizen of a failing socialist federation, or a stranger in a capitalist state, Tea finds that death is not always an immediate affair, that our finer traits can perish long before the body does, reducing us to an animal existence. Hence the characteristic analogy to animals in Drndić’s fiction: the rats of Belladonna; the rhinos of Doppelgänger; and, in Battle Songs, the Vietnamese potbellied pig, whose cultivation as a ‘Western family pet’ is juxtaposed with the experience of the novel’s refugees.

Drndić finds nimbler symbols in the figurines, dolls and game pieces her characters encounter. Waiting for the subway one day, Tea meets a woman selling miniatures: ‘little violins, little guitars, little newspapers, little books, little people, little teapots, little trumpets, little houses, little railways, little tables, little plates, little pianos’. Rather than prompting lamentation for the tragic diminishment of her life, she instead imagines ‘how nice it would be if we all got together and in a shrunken state lived on that woman’s shelf’.

The longing to live in a ‘shrunken state’ finds an affinity with Drndić’s treatment of ultranationalism and fascism. More than once, Tea declares confidence in the ‘purity of my Croatian blood’, which benefited her during the craze for ‘counting blood cells’ in the Balkans. Tea seems both bemused and faintly proud of this asset. Still, Tea has no serious affinities for the far right. The history of her Partisan family was marred by the violence of the Ustasha, the militia of the NDH (Nezavisna Država Hrvatska), the Croatian puppet state of the Axis powers. Drndić frames their ‘call for blood and soil’ as a petulant appeal for narrowing social concerns. Tea recalls an instructive example in a student magazine published in Zagreb, 1942.

Croats may only be Croatophiles. Any other allegiance that crosses the boundaries of our shared commitments, is not only completely nonsensical but also absolutely harmful. So all contradictions can be manifested only within the borders of our national and state benefits. It is better that those borders should be narrower rather than wider, it is better that in establishing those borders we should be narrow-minded, rather than allow ourselves greater liberties.

The fascist’s demands for ethnic purity and national fealty betray his vulnerability. Tea’s passing daydream of life in miniature – to live simply amongst the ‘little people’ and ‘little houses’ – becomes the fascist’s consuming political ambition: to produce an uncomplicated, uncontaminated society by externalizing the forces of reduction he feels within himself. The emotional antecedents of fascism are widely felt in Drndić’s characters, and her presentation of them is often seeded with acknowledgements of their humanity. Battle Songs reminds its reader that the Ustasha, too, had parents and lovers and sang ‘ditties’ to their children. Monsters are made, not born, she insists; the structure that Drndić implicates in their making is the turmoil of the Balkan nation-states.

Nationalism, likewise, is the subject of Drndić’s most direct parodies. Battle Songs shares a late-90s fracas within the Balkans over ‘Grandfather Frost’. National factions insist on their own version of the childhood legend, or, in the case of Bosnia & Herzegovina, reject it altogether as something ‘imposed from the outside’. The episode is amusing – and, to Americans, familiar – until a radio host who maintains that ‘Grandfather Frost is one of the rare things that unites people’ is assaulted for his opinion. Similarly, in EEG, the narrator reports that Latvians despise the widespread perception of Rothko as an American artist; they insist that Markuss Rotkovičs ‘is in fact ours, he’s not yours, but in fact ours’.

Of course, this is how nations function, by guarding distinctions between their constituents and foreign nationals, while neglecting divisions within their borders. Nurturing the illusion of nationality, these tendencies can only preserve or expand social fragmentation. Drndić is a pessimist, yet her will to fragmentation cannot help but accentuate, through sheer contrast, the human bonds that remain untroubled by it. In an illustrative paragraph towards the end of Battle Songs, Tea reflects on her daughter’s childhood:

Little keys for tightening the tooth braces which kept getting lost, glasses, doctors’ checkups, orthopedists – ugly high shoes, diaries (allergic to Pentrexyl, sleeps well, sleeps badly, high temperature, low temperature, likes pureed squash, likes apples, doesn’t like sour things, can take cherries, not oranges, will eat spinach, dumplings, dresses herself, ties her shoelaces, right-handed – left-handed, draws circles, distinguishes colours, doesn’t distinguish colours, has grown 2 centimeters, gained 300 grams, doesn’t like the story ‘Hansel and Gretel’, does like ‘The Ugly Duckling’: When I grow up I’ll be a white swan, hard stool, soft stool, throat swab sterile, new words: I can’t get down!)

Like everything else in Drndić, Sara’s life is ‘preserved in pieces’. But this collage is somehow free from the contortions of identity or manias of self-maintenance; rather its parts are suspended in the resin of a mother’s love, boundless, transparent, selfless. What is civilization but the hope that this local, instinctive love can be extended? Drndić spent her career anatomizing how this remains a fantasy within nation-states that must feed fraternity and acrimony at the same trough. In Toronto, Tea sometimes overhears Sara in the shower, singing to herself: ‘What can we do to make things better, what can we do to make things better. La-la-la-la.’ Another daydream: the prospect of people cooperating toward their mutual flourishing is something children sing to themselves when they think no one is listening.

Read on: Robin Blackburn ‘The Break-Up of Yugoslavia and the Fate of Bosnia’, NLR I/199.