Before ruins, there was rubble. This is the startling and counter-intuitive claim at the heart of Gastón Gordillo’s magnificent new book. It is counter-intuitive because we tend to think of rubble as an extrapolation of ruination, ruination taken to the nth degree. Rubble is what we are left with when we don’t even have a ruin, when the forms of ruined structures are no longer comprehensible, leaving us with little more than shapeless masses of material and debris. Rubble is what ruins ultimately become, if left to their own devices; they are what ruin the ruin itself. If ruins are a palimpsest, rubble is their holocaust. If in the ruin, as Walter Benjamin observes, “the idea of the plan speaks” (The Origin of German Tragic Drama 235), and we can think we imagine a completed building, a unified structure, by contrast in the mound of rubble little can be discerned. Rubble is illegible, seemingly mute and expressionless; it defies representation. Or if rubble speaks, surely it tells us only of the extreme violence that has silenced it, that has erased the history that it once incarnated? No, says Gordillo: quite the opposite. Rubble’s apparent formlessness is an indication of its generative potential. From heaps of rubble mighty ruins spring.
Gordillo’s book, then, is a wide-ranging account of the production of ruins from rubble across a swathe of Northern Argentina from the foothills of Andes to the Paraguayan border, in the once forested plains of the Gran Chaco. He shows how diverse forces, from the Spanish conquistadors to the colonial Church or the contemporary state, have at various points tried to seize hold of the rubble that litters the region and capture it to produce what (following David Harvey) we might call a “spatial fix” to cement power, shape memory, and organize bodies, human and material alike. For even “naming something a ruin” is, as Gordillo quotes Ann Stoler saying, “in itself a political act” (196). Ruination is a process of selection that negates certain potentialities that remain virtual within rubble, even as it actualizes and celebrates others to produce “deceivingly positive landscapes” (16) punctuated by fetishized monuments to an official version of the past. If there is anything negative in the ruin it is this: the ruin sets out to negate rubble and with it its generative power and complex multiplicity. Against the flexibility and fluidity of what seem to be unformed mounds of material, scattered here and there in all manner of combinations, ruination produces “rigid objects presented as nodes of memory” that “transform space by gathering bodies around them and organizing and modulating their gaze and affective disposition” (206). But with rigidity comes brittleness. It’s no wonder that these ruins become objects of ritual veneration that require “repetitive ceremonies that something worth remembering happened there” (206). Ruins have to be endlessly (at)tended, reconstructed, shored up, rebuilt. Hence the irony that there are no structures more carefully conserved and preserved than ruins, supposed monuments to impermanence and decay that are in fact shaky bulwarks of projects to ensure stability and purity. Ruins have to be kept “whole” to hide the fact that all great structures are only ever ruins in waiting, and that everything tends to return to rubble. Ruins are the precarious legitimation of sovereign power; built on rubble, in the end they are not so mighty after all.
For the transformation of rubble into ruin is not a one-way process. Ruination is not rubble’s destiny, and Gordillo’s history is also the tale of constituted power’s constant battle with rubble’s perennial resurgence. While the elite battle against rubble, perpetually in fear of the ways in which it manifests “the fragility of state power” (57), or indeed the failures of any other would-be hegemonic project, in and around the debris itself arise other practices, other memories: subaltern reappropriations of place, such as the wild parties (“fiestones”) and “exuberant events of a Dionysiac nature” that one of Gordillo’s informants tells him used to take place in an abandoned Jesuit mission. It is this same informant, a local man called Alfredo, who first shocks Gordillo into realizing that if “we aren’t afraid of ruins” (as his Conclusion has it), it’s because we fear rubble even less. Calmly breaking off pieces of stucco, “enthusiastically eroding the materiality of the wall” (4), Alfredo happily demonstrates the vulnerability of ruins, their susceptibility to a subaltern counter-violence. Sous les pavés, la plage; beneath ruins, rubble.
But what comes before rubble? Or is history simply some kind of endless dialectic between rubble and ruin, violence and counter-violence? No. Gordillo suggests that before rubble is the void. But void does not here mean absence of any kind. It is true that Gordillo has much to say about negation, and in general his book is often dressed up in Frankfurt-School and particularly Adornian and Benjaminian rags. But his is an Adorno who, in proper Deleuzian fashion, has been well and truly fucked in the arse. So despite imperial or national depictions of the Chaco as some kind of savage abyss, defined by everything it supposedly lacks (culture, order, hierarchy), Gordillo stresses its plenitude, indeed its multiplicitous excess. This is what truly makes elites tremble: not that there is nothing there, but that there is too much, as is evidenced by the void’s power to create rubble. For perhaps it is better to speak not of the void, as though it were one object among many, but of voiding as an activity, as an insistent presence, a vital expression of the war machine as constituent power that (here Gordillo references Pierre Clastres) exerts its own violence to ward off the state, and in so doing creates rubble. The difference between the void and rubble is that the void is truly formless, a smooth space of pure immanence. Rubble, by contrast is organized (much as the state cannot see this or has to deny it) in zones of intensity, or what Gordillo consistently calls “nodes,” which themselves constitute “constellations.” This makes sense of the description of rubble as “ruptured multiplicity” (2), as opposed to the “ruptured unity” that more conventional accounts suggest. For it is not unity but multiplicity that is prior, and it is this basic (pure) multiplicity of the void that rubble ruptures.
Gordillo wants to persuade us not to fear ruins, in the name of a plea that we appreciate and affirm rubble. But should we not then love the void even more? Is this a radical call to embrace the war machine, reversing all the polarities of constituted power? Again, no, for this is not a book tainted with nostalgia for the so-called primitive, nor does it surrender to banal dialectics. There is something deeply ambivalent about the void. And we can see why if we look at the latest forces to shape the landscape of the Argentine Chaco: truly “primitive” accumulation in its purest state; neoliberal agribusiness as incarnated in the so-called “Soy Boom” of the past couple of decades. For what marks the process by which the forests are destroyed to be replaced by vast fields of soy is that the devastation is near absolute: not even rubble is produced or left behind, while the rubble that was once there is now consumed by fire. This is truly a smooth space. Moreover, there is something of the nomad, something of the war machine and even something multitudinous in these new multinational forces sweeping through the Chaco. Their voiding is certainly vigorous and active, and ultimately as threatening to state sovereignty as marauding indigenous bands ever were. These are the new spectres that haunt the Chaco, constituting lines of flight in pursuit of capital that (as Deleuze and Guattari comment in another context) “emanate a strange despair, like an odor of death and immolation, a state of war from which one returns broken” (A Thousand Plateaus 229). In the face of this latest challenge to the Argentine (but not just Argentine) spatio-historical ecosystem, it is the signal merit of Gordillo’s book to remind us of the value of the loose, but productive and fertile, horizontal connections and communities that make up the network of nodes and constellations that we too easily dismiss as “mere” rubble.
Posthegemony 