Henri Lefebvre: A Critical Introduction - autonomous learning
Henri Lefebvre: A Critical Introduction - autonomous learning
Henri Lefebvre: A Critical Introduction - autonomous learning
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a F t e r w o r d<br />
Almost a century on, progressives need the greatest caution<br />
in everything we do; we need to look around on every side before<br />
we can make a single step. The gravity of the situation isn’t lost<br />
on any of us. And yet, at the same time, there’s a sense that we<br />
should, and can, lighten up. After all, even amid the existential<br />
no-exits of Kafka, a black humor radiates, a glint of light warms<br />
a cold corner: as Kafka’s fellow countryman Milan Kundera notes<br />
in his latest book Le Rideau [The Curtain], Kafka “wanted to<br />
descend into the dark depths of a joke [blague].” 11 It was comedy<br />
that let K. deal with tragedy and let him pull back the curtain, rip it<br />
down, and tear it apart. He can still help us see what lies inside and<br />
beyond the wrapping, and H. knew it. Indeed, Kundera’s metaphor<br />
seems apt for H., who ripped down curtains suspended in front of<br />
our Kafkaseque modern world, demasked them, named what lay<br />
behind them, and asked us to look within.<br />
<strong>Lefebvre</strong>’s most Kafkaesque book is Vers le cybernanthrope<br />
(1971), where H. became a land surveyor facing the cybernanthrope’s<br />
tribunal, trapped within the confines of his rational castle,<br />
searching for a way out, confronting curtains of systematized mystification.<br />
In its corridors, the cybernanthropic last man stalks the<br />
Lefebvrian total man in a duel over our collective destiny. But it’s<br />
humor that will win out in the end. The cybernanthrope, H. says, is<br />
neither tragic nor comical: he’s farcical. He’s a product of a farcical<br />
situation and farcical events. Of course, he doesn’t see himself as<br />
farcical, because he’s rather earnest, taking seriously his duties, his<br />
realism. What’s in store for us, H. thinks, is another world war, a<br />
guerilla war that any potential total man needs to keep on waging,<br />
using as arms spirit and satire. We’ll have to be perpetual inventors,<br />
H. says, restless creators and re-creators. We’ll have to cover<br />
our tracks, engage in pranks and jokes, knock cybernanthropes off<br />
balance, keep them guessing. For vanquishing, for even engaging<br />
in battle, we’ll valorize imperfections and disequilibria, troubles<br />
and gaps, excesses and faults. We’ll valorize desire and passion,<br />
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