Oscar Cabezas, Postsoberanía

Oscar Cabezas’s Postsoberanía: Literatura, política y trabajo is a provocative and important contribution to our understanding of contemporary capitalism. Not that Cabezas’s view is a rosy one: though he ends with a rousing homage to Communism as the “irreducible horizon of emancipatory thought and social justice” (281), the rather more lasting impression this book leaves us with is of the extent to which the logic of the market has so thoroughly permeated and colonized everyday life. As he puts it in his final chapter, which is essentially a phenomenology of the contemporary labor process by means of readings of Charlie Chaplin, Albert Camus, and Sergio Chejfec, what he calls “post-sovereignty” is far from sovereignty’s demise but rather the “total, totalitarian, and totalizing sovereignty” of money as general equivalent (277). Not only our everyday experience but language itself is subject to the colonizing principles of money and calculation such that “language communicates nothing beyond instruction functional to the relation between capital and labor” (265-66).

This is, then, a somewhat apocalyptic book that, despite its historical range (from 1492 to the present), argues that capital has already abolished history in a “bad infinity” of perpetual production and absolute depersonalization in which the “eternal worker” is absolutely alienated by being pressed into service as organs without body (261-62). Despite the centrality of alienation to Cabezas’s argument, there can be no relief in humanism, which is merely the “aestheticization of poverty, of differences, which are transformed into mercantile cult” (270). Little prospect here for cultural studies! Moreover, the talk of “organs without body” shows, perhaps more interestingly, that however much he draws from Gilles Deleuze and Félix Guattari, Cabezas up-ends many of their categories and gives us a kind of perverse version of posthegemony in which nothing escapes. This is, in other words, a Deleuzoguattarianism without any line of flight, or a dystopian recasting of Michael Hardt and Toni Negri’s Empire in which Empire is all, the multitude nothing. “We know,” he says,” that there is no community outside of capitalist society”; and yet the (would-be) communitarian subject within capitalism is absolutely dependent upon an eternal spiritualized debt, an “effect of neo-imperial domination” (272). Any such community “under the neo-imperial dominion of post-sovereign capitalism is community of debtors” (272; emphasis in original). Cabezas thus also gives us a thesis on the primacy of debt à la David Graeber in which, however, “occupy” is unavailable as a slogan for resistance.

Cabezas may argue that all this is precisely the point. For the main argument that links the four essays that comprise this book is a protest against political theology in all its forms. The opening line of its introduction notes that it is inspired in part by Jacques Derrida (who, however, scarcely gets a mention thereafter) and in part by Carl Schmitt’s famous observation that “all significant concepts of the modern theory of the state are secularized theological concepts” (13). Cabezas then presents himself as absolutely anti-Schmittian: drawing above all on the work of Argentine theorist Leon Rozitchner, he sets out to extirpate political theory of every residue of the sacred, wherever it is to be found. As such, we should not then be seeking anything resembling redemption. And it is precisely the desire for redemption that therefore damns cultural studies and even such unlikely bedfellows of cultural studies as Deleuze and Guattari or Hardt and Negri. Hence perhaps Cabezas’s absolutism, his condemnation of just about every aspect of the contemporary worker’s (and consumer’s) experience: our alienation is absolute; “within the space of post-sovereignty, capitalism administers and controls from heterogeneity or, to put it more precisely, from language made up of residues, of transnational mixtures, of mercantile innovations, of fragments of erased memories and incomplete legacies that even so do not escape the production of surplus value” (238). This indeed is the novelty of post-sovereignty, the means by which sovereignty becomes absolute: difference and hybridity proved an obstacle to modern, more conventional forms of sovereignty; but they are no bulwark against the post-sovereign. Quite the contrary, post-sovereignty thrives on difference. And again, there is no escape: post-Fordist language (and presumably also literature) is now “completely subordinate to the [. . .] post-sovereign accumulation of capital” (239; my emphasis).

It may be too easy (if still warranted) to point out that Cabezas’s apocalypticism and absolutism remain wedded to a quasi-religious eschatology that posits Communism as a City of God utterly distinct from the City of fallen, post-sovereign Man. Indeed, Cabezas’s recourse (via Rozitchner) to a mater-ialism that plays on the notion of feminine embodiment (mater/matter) as what is repressed by the Judeo-Christian tradition draws on a long religious lineage that is not entirely foreign either to Judaism or to Christianity. Perhaps more significantly, I find Rozitchner’s version of cultural psychoanalysis unconvincing, picking up as it does on the least interesting aspects of the late Freud, and Cabezas’s exposition (which seldom if ever takes any distance from Rozitchner) does little to make it any the more compelling.

By almost any measure the best chapter of the book is the final one, in which Cabezas finally finds his own voice. Even here, however, he maintains the habit of incorporating long quotations more or less undigested from the texts that he is discussing: as such we have not so much discussions of the texts as recapitulations and extrapolations from what is too often treated as holy writ. The first part of the book would have benefitted from more and more sustained readings, both in quantity and in closer attention: the opening chapter on the 1492 Edict of Expulsion of the Spanish Jews is particularly skimpy on the historical archive, and doesn’t even cite the text in question; the second chapter’s approach to (anti-)Peronism is similarly unsatisfying. But as I say, the final chapter’s engagement with Chaplin’s Modern Times, Camus’s “The Myth of Sisyphus,” and Chejfec’s Boca del lobo is provocative and important. Still, however, the ghost of Derrida perhaps haunts the book even here, as these texts are not so much deconstructed as presented as evidence for thesis of the modern (non)subject absolute alienation. In the end, Cabezas’s methodology is strangely reminiscent of cultural studies, albeit that rather than seeking traces of resistance to celebrate, he is instead combing these works for proof of the awful situation we find ourselves in. But I am not sure that the (post-)sovereignty of capital is so total: look simply to the state’s interventions following the financial crisis of 2008 and since, for example. For me, the crux of posthegemony (and this is a posthegemonic book) is neither celebration nor condemnation per se, but ambivalence. These are dangerous times, and Cabezas does signal service in pointing to some of the tendencies inherent in capital’s real subsumption of the social, but these tendencies are not the whole story. Absolutely not.

Update: This post has now been translated into Spanish at Lobo Suelto.


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