The Intellectual

In this episode, Xavier Bonilla has a dialogue about the life and impact of J. Robert Oppenheimer. They talk about the elusive nature of Oppenheimer, how he became involved with theoretical physics, and the creation of the atomic bomb. They discuss his involvement with communism, AEC hearings, his last years, the legacy of Oppenheimer, and many more topics.

Kai Bird is a historian, journalist, and writer. He is executive director and distinguished lecturer at CUNY Graduate Center's Leon Levy Center for Biography in New York City. He is the author of numerous books and is the recipient (along with co-author Martin J. Sherwin) of the 2005 National Book Critics Circle Award, the 2006 Pulitzer Prize for Biography or Autobiography, and the 2008 Duff Cooper Prize for American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer. He is also the author of The Outlier: The Unfinished Presidency of Jimmy Carter.

Website: https://www.kaibird.com/

Twitter: @kaibird123

Slavery, Surveillance and Genre in Antebellum United States Literature (Oxford UP, 2022) argues for the existence of deep, often unexamined, interconnections between genre and race by tracing how surveillance migrates from the literature of slavery to crime, gothic, and detective fiction. Attending to the long history of surveillance and policing of African Americans, the book challenges the traditional conception of surveillance as a top-down enterprise, equally addressing the tactics of sousveillance (watching from below) that enslaved people and their allies used to resist, escape, or merely survive racial subjugation.

Examining the dialectic of racialized surveillance and sousveillance from fugitive slave narratives to fictional genres focused on crime and detection, the book shows how these genres share a thematic concern with the surveillance of racialized bodies and formal experimentation with ways of telling a story in which certain information is either rendered visible or kept hidden. Through close readings of understudied fugitive slave narratives published in the 1820s and 1830s, as well as texts by Edgar Allan Poe, Herman Melville, Frederick Douglass, Hannah Crafts, and Harriet Jacobs, Ross analyzes the different ways white and black authors take up these issues in their writing--from calming white fears of enslaved rebellion to abolishing slavery--and demonstrates how literary representations ultimately destabilize any clear-cut opposition between watching from above and below. In so doing, the book demonstrates the importance of race to surveillance studies and claims a greater role for the impact of surveillance on literary expression in the US during the era of slavery.

Kendall Dinniene is a PhD candidate in English at Southern Methodist University in Dallas, Texas. Their research examines how contemporary American authors respond to anti-fatness in their work, revealing the contours of citizenship and paths toward liberation.

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Eugène Delacroix--innovative, creative, with a flare for drama--was a transformative figure in the art world during the 19th century. Bucking the traditionalism of more rigid French academic painting, Delacroix forged his own style, celebrating passion, the exotic and moments imbued with the utmost intensity. Join our hosts as they discuss the context and creativity of this vibrant painter.

How does skepticism serve history? What lessons does Hegel hold for the modern historian? Why is an understanding of historical consciousness so important across the humanities? These are some of the questions we asked Richard Bourke, Professor of the History of Political Thought at the University of Cambridge. 

Publications mentioned in this episode include: 

István Hont and Michael Ignatieff, Wealth and Virtue: The Shaping of Political Economy in the Scottish Enlightenment (CUP: 1983)

Richard Bourke, Peace in Ireland: The War of Ideas (Pimlico: 2003)

Richard Bourke, Empire and Revolution: The Political Life of Edmund Burke (Princeton University Press: 2015)

Richard Bourke and Quentin Skinner, eds. History in the Humanities and Social Sciences (CUP: 2002)

Richard Bourke, Hegel’s World Revolutions (Princeton University Press: forthcoming, 2023)

In her book, Punk Art History: Artworks from the European No Future Generation (Intellect Books, 2023), Marie Arleth Skov examines the punk movement of the 1970s to early 1980s. Through archival research, interviews, and an art historical analysis, Skov situates punk as an art movement. It is about pop, pain, poetry, presence, and about a ‘no future’ generation refusing to be the next artworld avant-garde, instead choosing to be the ‘rear-guard’.

Skov draws on personal interviews with punk art protagonists from London, New York, Amsterdam, Copenhagen, and Berlin, among others the members Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, Hugo Kaagman, as well as email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. Skov covers events such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin in 1981 and explores paintings, drawings, bricolages, collages, booklets, posters, zines, installations, sculptures, Super 8 films, documentation of performances and happenings, body art, street art.

What emerges is how crucial the concept of history was in punk at that point in time. The punk movement's rejection of the tale of progress and prosperity, as it was being propagated on both sides of the iron curtain, evidently manifested itself in punk visual art too. Central to the book is the thesis that punks placed themselves as the rear-guards, not the avant-gardes, a statement which was in made by Danish punks in 1981, when they called themselves “bagtropperne". Behind the rear-guard watchword was the rejection of the inherent notion of progress that the avant-garde name brings with it; how could a "no future" movement want to lead the way?

Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.

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Robert Coover spoke at the Institute in the spring of 2006. Coover is the author of over a dozen postmodern novels, including The Public Burning and Pinochio in Venice. He was one of the early supporters of electronic fiction, which he defended in “The End of Books,” a 1992 New York Times essay. Coover established Brown University’s MFA program in Digital Language Arts, and teaches courses on experimental narrative and literary hypermedia.

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In this episode we welcome Gabriel Rockhill to the podcast to discuss his latest piece "The Myth of 1968 Thought and the French Intelligentsia: Historical Commodity Fetishism and Ideological Rollback" which is out this month, in the June issue of Monthly Review.

Gabriel Rockhill is the Founding Director of the Critical Theory Workshop / Atelier de Théorie Critique, Professor of Philosophy at Villanova University, and the author or editor of nine books, as well as numerous articles and essays.

Many listeners have asked us to read and possibly have a discussion about Rockhill's recent work in particular which has included critical articles on Foucault, Žižek, the Frankfurt School and what Rockhill describes as "The Global Theory Industry" within his work.

In this conversation we largely examine his most recent piece on the promotion of a certain sect of French intellectuals in the wake of the 1968 uprisings and strikes in Paris. Rockhill discusses the relationship or lack thereof that he sees between those thinkers who have been promoted as "68 Thinkers" and the actual activities of the period, the political decisions being made on the ground, and most urgently for Rockhill's concerns the incredibly vibrant worker movement of the period and the possibility of taking power and building a socialist project in France.

We hope folks enjoy this discussion which also examines the relationship between those who organize for socialism, grassroots uprisings, and the process through which publishers, state actors, and the media recuperate and commodify upheaval and then freely associate it with thinkers that are compatible with the maintenance of the status quo which is being protested. Alongside this cultural project there is of course also the violent repression of the state both overtly and clandestinely. Along those lines Rockhill also discusses Operation Gladio.

We will include links to some of the projects that Rockhill mentions in the episode in the show notes, including the summer program at the Critical Theory Workshop.

And of course if you appreciate what we do here at Millennials Are Killing Capitalism, please become a patron of the show. Our show is only possible due to the contributions of listeners like you. For as little as $1 a month or $10.80 per year you can join all of the amazing folks who make this show possible at patreon.com/millennialsarekillingcapitalism.

Links:

The Myth of 1968 Thought and the French Intelligentsia: Historical Commodity Fetishism and Ideological Rollback

Critical Theory Workshop / Atelier de Théorie Critique

Some of Rockhill's other work on the Global Theory Industry specifically on Foucault, Žižek, the Frankfurt School.

Thomas Sankara translations on Liberation School

Iskra Books (mentioned in the episode)

George Orwell was born in India and served in the Imperial Police in Burma as a young man. Douglas Kerr's book Orwell and Empire (Oxford UP, 2022) is a study of his writing about the East and the East in his writing. It argues that empire was central to his cultural identity and that his experience of colonial life was a crucial factor, in ways that have not been recognized, in shaping the writer he became.

Orwell and Empire is about all his writings, fictional and non-fictional. It pays particular attention to work that derives directly from his Burmese years including the well-known narratives 'A Hanging' and 'Shooting an Elephant' and his first novel Burmese Days. It goes on to explore the theme of empire throughout his work, through to Nineteen Eighty-Four and beyond, and charts the way his evolving views on class, race, gender, and authority were shaped by his experience in the East and the Anglo-Indian attitudes he had inherited. Orwell's socialism and his hatred of authoritarianism grew out of his anti-imperialism as The Road to Wigan Pier makes explicit. But this was not a straightforward repudiation or a painless process. He understood that, 'it is very difficult to escape, culturally, from the class into which you have been born.' His whole career was a creative quarrel with himself and with his Anglo-Indian patrimony. In a way that anticipates current debates about the imperial

legacy, he struggled to come to terms with his own history.

Charles Coutinho, PH. D., Associate Fellow of the Royal Historical Society, received his doctorate from New York University. His area of specialization is 19th and 20th-century European, American diplomatic and political history. He has written for Chatham House’s International Affairs, the Institute of Historical Research's Reviews in History and the University of Rouen's online periodical Cercles.

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On this episode of The Point podcast series “Selected Essays,” Jess Swoboda and Zach Fine talk to the writer Adam Shatz about James Baldwin's essay “Alas, Poor Richard” (1961), a eulogy of sorts for Richard Wright, and Adam's new book, Writers and Missionaries: Essays on the Radical Imagination (Verso 2023), which gathers a series of intellectual portraits of great thinkers and writers such as Wright, Claude-Levi Strauss, Chester Himes, Jacques Derrida, Fouad Ajami and Edward Said.