Posts Tagged ‘socialism’
July 11, 2016 | by Lee Lockwood
Late in 1959, the photojournalist Lee Lockwood flew to Cuba to witness the end of Batista’s regime. After a long search, he found Fidel Castro, who had only just seized power. The two had an immediate rapport, and in successive trips over the next decade, Lockwood found that Castro granted him unprecedented access to the island; in 1965, he sat for a marathon seven-day interview. First published in 1967, Lockwood’s portrait of Castro stands as arguably the most penetrating document that exists of the man. Lockwood died in 2010; this month, in light of the new course in U.S. relations with Cuba and the paucity of historical context, Taschen is reissuing his interviews in Castro’s Cuba: An American Journalist’s Inside Look at Cuba 1959–1969, including hundreds of photographs, many of them previously unpublished. The excerpt below covers Castro’s opinions on literature, arts, and culture in Cuba.
Is there any attempt to exert control over the production of art in Cuba? For example, in literature?
All manifestations of art have different characteristics. For example, movies are different from painting. Movies are a modern industry requiring a lot of resources. It is not the same thing to make a film as it is to paint a picture or write a book. But if you ask whether there is control—no. Read More »
March 27, 2015 | by Joshua Cohen
“A Farce Written in Human Blood,” pp. 70–89
This is the fourth entry in our Mating Book Club. Read along.
So here he is, after all this setup: Denoon—the anthropologist beyond anthropology, the man who until this chapter had been kept behind the margins as if in the wings, behind a curtain. Because his entrance here, now, is a stage entrance—he’s going to give us a performance.
Here we have a party whose entertainment consists of an anthropologist’s lecture costumed as an anthropologist’s debate—with politicians, about politics—in the thickly caked makeup of a play: “A Farce Written in Human Blood: THE DESTRUCTION OF AFRICA ACCELERATED BY HER BENEFACTORS, PRESENT COMPANY NOT EXCEPTED.” The caps are Rush’s. Then there’s this heading: Act II. But where was Act I? Did we miss it? We did. Our unnamed narrator gives us access to Denoon only after he’s finished (verbally) demolishing capitalism (rather, “excoriating the capitalist development mode for Africa”)—socialism is next.
But before we get into Denoon’s “objections to the socialist remedy for Africa,” let’s ask a question: Why did Rush write this section as a drama? Why not as a thoroughgoing narrated scene? Read More »
November 7, 2014 | by Brenna Hughes Neghaiwi
Life on the Karl-Marx-Allee. Read Part 1 here.
Philipp and Quentin live in an apartment next to the Rose Garden, in Block D North, a comely segment of the Karl-Marx-Allee designed by Kurt Leucht.
“It takes time to get used to the style of the buildings,” Quentin tells me. “It’s so massive. There’s nothing delicate in the style.” He points to the oversized street lamps from his window. The lampposts dwarf the cars parked beside them; the lights alone are taller than a seven-year-old child. Life disappears in this enormity. “If you’re sitting on the grass, you don’t see the insects. If you look out the window, you see everything.”
The apartment’s former tenant, Philipp tells me, spent some six decades here and just recently passed away. In the kitchen, Philipp shows me the “refrigerator” that tenant used in the days of the GDR: a wooden cupboard under the window, built into the building’s thick walls. It was the coolest space in the room.
When they were built, the buildings of the Stalinallee were—with their elevators, gas heating, warm water, and private bathrooms—considered luxurious. But the GDR faced a severe lack of resources: certain innovations and foreign-produced goods, like automobiles and refrigerators were produced and acquired at a stiflingly slow pace. Over time, the immaculate facades of the Karl-Marx-Allee fell off. The GDR was coming apart, and so were its buildings. The ceramic tiles began to drop—some fifty thousand square meters of them were lost. There were no replacements, and even if there had been, there were no volunteers and hardly any workers to put them up. Read More »
November 6, 2014 | by Brenna Hughes Neghaiwi
Life on the Karl-Marx-Allee, Block C South. Read Part 2 here.
In the late eighties, the German Democratic Republic was bleeding people like money; the Iron Curtain was coming apart at the seams. November 9, 1989, would be the turning point, the evening on which the Socialist party allowed what had once been unimaginable.
In Block C South of the Karl-Marx-Allee, Otto Stark sat in the quiet of his apartment, tuning in to the historic national blunder that precipitated the fall of the Berlin Wall: one of the few international press conferences in East Germany’s history, with one very ill-prepared party spokesman, Günter Schabowski, at the microphone.
Schabowski: (reading from a memo) “Permanent departures can be made through all border crossing points of the GDR to the [West German] Federal Republic of Germany. This eliminates the temporarily allowed issuance of appropriate permits in foreign missions of the GDR or permanent exit with the identity card of the GDR via third countries.” […]
Reporter: When does this take effect?
Schabowski: (leafing through his papers) To my knowledge this takes effect immediately … without delay.
Further along the Karl-Marx-Allee, people were buzzing at the Kino International. They had come from the West to see the first—and what would be the only—gay film of the GDR. Later, these West German visitors would witness, by accident, the historic event, as thousands of East Berliners gathered at the border-control points and the confused guards finally relented. Thousands of East Berliners strolled through the gates of the Berlin Wall, their blue GDR passports waving in the air. Scaling the Wall, sitting on the Wall, ecstatic reunions between families after three decades apart.
But things were quiet in the Stark household on the Karl-Marx-Allee. Mr. Stark, the famous actor and later director of the Cabaret Distel, and his wife, the famous actress Ilse Maybrid, did not go out that evening: they would wait until the next day to see for themselves what was going on at the Wall. Otto had had a long day; it was nearing midnight when the gates opened, he was already in his late sixties, he’d just returned home from work. The Starks held a privileged position in the GDR. They were a prominent couple, they traveled to the West on professional engagements, and they lived in a penthouse on the showcase boulevard—something reserved for celebrities and the “best workers,” as Otto Stark, now ninety-two, tells me from his living room of fifty-four years. The same living room in which he and his wife first watched the collapse of the GDR on television, twenty-five years ago this Sunday.
Less than one month before, tanks had rolled down the Karl-Marx-Allee for the fortieth anniversary of the GDR. Soviet leader Mikhail Gorbachev had hugged General Secretary Erich Honecker, the two sides coming together after years of stubborn disagreement. “If we stay behind, life will punish us immediately,” Gorbachev told Honecker that day. The last Day of the Republic, the last military parade on the crumbling Karl-Marx-Allee. Read More »
March 12, 2014 | by Dan Piepenbring
- “Drunk and naked I would advance from the rear, or your rear, wearing evening clothes.” A ribald note from Hemingway to Marlene Dietrich is soon to be auctioned—their relationship was, alas, never consummated, but if the price is right, you could own a record of their long flirtation, replete with such swooning phrases as “whore blood,” “foaming at the mouth,” and “Dearest Kraut.”
- Talking doors, gossip machines, super-duper turntables: here’s what Philip K. Dick, writing from the vantage point of 1966, thought 1992 might have been like. Would that it were.
- While we’re on sci-fi: the New Museum’s new exhibition, “Report on the Construction of a Spaceship Module,” plunges you into the old socialist vision of space travel. “Filko has a wall-mounted tablet nearby where, donning a wall-tethered headset that brings your forehead unnaturally close to the screen, you can ponder his ruminations on the fourth dimension.”
- “Tomorrow starts here.” “One course at a time.” “Be the difference.” The surprisingly vacuous phrases copyrighted by universities.
- A newly reprinted 1856 essay gives German comedy quite the drubbing: “German humor generally shows no sense of measure, no instinctive tact; it is either floundering and clumsy as the antics of a leviathan, or laborious and interminable as a Lapland day, in which one loses all hope that the stars and quiet will ever come.”