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ters with rock. Of course, it turned outthat these forms were, in the end, easilyadaptable to the music business* stan-dard operating procedure as well. Therise and fall of Nirvana and theshenanigans at Woodstock '99 shouldmake it clear that the familiar romanticpattern of star-spangled excess, deca-dent fame and violent dissolution canbe learned by rote and continuallyplayed back over and over again.
Still, these more recent phenomenaleft important legacies that point beyondthe familiar pattern. For instance, whileMiller was half-heartedly coveringMichael Jackson's every twitch forNewsweek in the mid-'80s (a story heuses to detail his disillusionment),groups like the Minutemen, Mission ofBurma, Hiisker Du and a host of otherswere making seminal records on
unknown labels, touring the country invans and playing for small crowds. Thebroad cultural influence of these kinds ofmusic scenes—across genres—can stillbe felt in the wealth of independentrecord labels, community performancespaces, musical collectives and bandsscattered around the country today.Some of these are merely unofficial"farm teams" hustling to get noticed bythe larger music industry, but many con-tinue to provide a way for people tomake music more or less under the radaror just outside the provenance of the bigrecord companies.
This is a history you can't get fromMiller's book. It requires readjustingone's understanding of what rock 'n'roll has become. To some extent thesense of personal transformation thatMiller so adeptly evokes is predicated
upon a sense of youthful idealism nur-tured by the buzz and rush of radiopatter, fast money, inchoate politics,racial transgression and drugs thatmade rock so new in the years thatMiller surveys. While all this may stillbe in effect to one degree or another,rock music has mutated indeed. In fact,Miller's frustration with the historyproves it has been transformed; it has"grown up," for lack of a better phrase,and can no longer be measured orunderstood through the language ofyouthful exuberance and Utopian trans-formation. It will take instrumentsother than those Miller employs tochart its as yet unknown effects. •
Sandy Zipp, a graduate student at Yale inAmerican studies, has also written for TheBaffler and Might.
Make It StrangeBy J.W. Mason
I n one of the remarkable poems hewrote while in exile in Denmark,Bertolt Brecht wondered, "Why
should my name be mentioned?" Heoffered answers—"because I praised theuseful"—but concluded: "But today / Iaccept that it will be forgotten. / Whyshould the baker be asked for if there isenough bread?... Why should there be apast if there is a future?"
Brecht and MethodBy Fredric JamesonVerso184 pages, $25
So when Fredric Jameson speculates atthe beginning of his study Brecht andMethod that "Brecht would have beendelighted ... at an argument, not for hisgreatness, or his canonicity, nor even forsome new and unexpected value of poster-ity ... [but] rather for his usefulness," onewonders if he really would have been asdelighted as all that. But the future with nofurther need of Brecht was to be the day"when man is a helper to man," and if itsrealization has been indefinitely delayed,by the same token so has Brecht's obscuri-ty. For the moment, there are many goodreasons for his name to be mentioned.
I have no idea what complex theoret-ical gap Jameson intends a study ofBrecht to fill; charting the branches ofhis work and their recombinationskeeps platoons of graduate studentsoccupied. Let's ask instead why Jamesonpersonally might choose to write aboutBrecht. As the man who owns the fran-chise on "postmodernism" (its"capture" by Jameson is nicely docu-mented in Perry Anderson's excellentOrigins of Postmodernity), he has been atthe center of all the pullulating debatesover the uses and abuses of that termand of the relation between culturalpolitics and the real item.
Thank god the "culture wars" seem tohave petered out. But Jameson, whounlike many of his lit-crit colleagues is alucid writer and thinker, cannot have
Jameson wants torescue Brecht, and, byextension, Marxism,from the taint ofthe gulag.
been untroubled by the questions beggedby, for instance, the habit of referring toacademic articles as "interventions."Jameson is distinguished from many onthe cultural left by the clarity and confi-dence of his political stance, which isovertly anti-capitalist and positions itselfin the tradition of political economy. Buthe is uncertain what the duties and capa-bilities of a political writer are in a time ofpolitical paralysis. So he looks to Brechtas a model for what a writer can do.
The answer Jameson comes up with isnot that different from what his less
committed colleagues might offer: HisBrecht is a universal subversive, under-mining every convention, orthodoxy andreceived idea. Jameson no doubt wants torescue Brecht—and, by extension,Marxism—from the taint of the gulag.But more than an opportunistic reread-ing, this represents a fundamentallydifferent approach to politics than Brechtrepresented in his own day. And it fails tofully capture the project of Brecht and hiscomrades, who were as concerned withbuilding up as with tearing down.
For someone who has encounteredBrecht as a spectator at his plays (or hisimitators'), the book's focus will comeas a surprise. Jameson is not much inter-ested in "Brechtianism"—a mix of slyself-contradiction, paradox, heroiccowardice and honest hypocrisy on theone hand, and of self-conscious
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"estrangement effects" in which theartificiality of the situation of the play(or, these days, the movie) is highlight-ed. His concern isn't with Brecht's styleor technique (though he has someinteresting things to say about whatmakes Brecht work onthe page and in the the-ater) nor, significantly,with his specific politi-cal commitments, but,as the title suggests,with his method.
Which is what? Theconventional designa-tion is epic theater,which suggests Homer,Beowulf and the ElderEdda. But as Jamesonpoints out, the epicthat Brecht opposed tofamiliar dramatic the-ater had none of theseconnotations: It simplymeant narrative orstorytelling. If dramatictheater is the playingout of a premise whose unavoidable res-olution leaves us with a sense ofcatharsis, or at least satisfaction, epic isthe theater of the contingent, the arbi-trary and the evitable. The tension itproduces isn't resolved within the worldof the play. Or as Brecht himself put it:"This way of subordinating everythingto a single idea, this passion for pro-pelling the spectator along a singletrack where he can look neither left norright, neither up nor down, is some-thing the new school of playwriting [theepic] must reject."
Al every moment, he always remind-ed his actors, they must convey the factthat their characters could have doneotherwise, and his plays were to havethe air of (often, in fact were)rehearsals, which might well be per-formed differently the next time around.In tae same way, the estrangementeffects offer a reminder that the world isalso arbitrary, artificial, unnatural—inshort, strange; what seems natural isreasly a product of human action andtherefore subject to modification.
As Jameson rightly points out,Brecht's plays, while thoroughly politi-cal—in the sense that they wereintended to provoke the audience toaction—didn't function at all in the
way we often expect of political art.Brecht, he insists, had no patience with"culinary" theater that moved the audi-ence through their emotions. In theThree-Penny Opera, he offeredPeachum, the instructor of professional
Brecht with life mask, 1931beggars, as a ruthless satire on anyonewho hopes to arouse the sympathy ofthe well-off for the poor. The play'sopening title reads: "To combat theincreasing callousness of mankind, J.Peachum, a man of business, hasopened up a shop where the poorest ofpoor can acquire an exterior that willtouch the hardest of hearts."
Brecht carefully reworked plays likeGalileo and The Caucasian Chalk Circleto make their protagonists less sympa-thetic and identification with themtrickier. He didn't want audiences tosuspend disbelief and enter into theimaginative world of the play as anescape from their daily routine; he want-ed workers to come, smoke cigars duringthe performance and debate its applica-tion to their lives afterward. He wasespecially attracted to court cases, bothbecause of their implicit invitation forthe audience to pass its own judgment,and because of the chance they present-ed to show that what appeared as aseamless moral order was in fact hope-lessly contradictory.
J ameson approves of Brecht's abilityto ferret out contradictions; to
invite analysis; to systematically playagainst, rather than to, an audience's
emotional responses. This is the heartof his method, and for Jameson, it's amethod inherently opposed to doc-trine. What Brecht was about, Jamesoninsists, was challenging every conven-tional view; what he offered was a kind
of universal acid withwhich ideas could be bro-ken down into theirsmallest componentparts, the better to be"reconstructed replaced,improved."
Even Brecht's Marxism,which his critics andadmirers both see at thecenter of his work, lacksfor Jameson any posi-tive content. If Brechtacknowledged Marxism asthe "science of society,"what he meant was, "Yes,Marxism really is a sci-ence ... but only in thatfigurative sense of whataccompanies and theo-rizes the new." He made
no argument, supported no cause,except in a relative and contingent way,and his greatest fear was that ideaswhich were useful for the momentwould be regarded as absolutely true.Thus the paradoxes, the playing of val-ues against each other; the constantreminders to the audience that whatthey are watching is just a play, andmight be put on differently under differ-ent circumstances. In the end, saysJameson, this warning against the freez-ing or fossilizing of ideas is the onlything the plays have to teach us: "Thedoctrine is simply the method itself."
Jameson is quite right that techniquesof "Brechtianism" exist for a reason: toshock and surprise, to make peoplerethink what they've taken for granted.Brecht often noted that if his particularalienation effects became too familiar,they themselves would have to be alien-ated; writing today, Brecht would not bea Brechtian. And he acknowledged acertain primacy of technique over con-tent: "Show that you are showing!Among all the varied attitudes / Whichyou show when showing how men playtheir parts / The attitude of showingmust never be forgotten." Jameson drawsespecially on the Me-Ti: The Book ofTwists and Turns, which retells Marx in
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the idiom of the Chinese classics to pro-duce aphorisms like, "Certain thoughts,of the ordering kind ... can be comparedto bureaucrats in their conduct and func-tion." So his postmodern Brecht is, atleast, not created out of whole cloth.
Still, is this all there is to Brecht?Brecht's critics, notes Jameson, deniedthat estrangement effects were whatmade the plays run; they "maintainedthat Brechtian distanciation was impossi-ble, that we always identified withMother Courage and her tragedy in spiteof ourselves." For that matter, many ofBrecht's admirers have said the same.Would the plays still be performed if theylacked what Brecht (and Jameson) dis-miss as "culinary" virtues, or if nothingcould be taken from them but a warningagainst "thoughts of the ordering kind"?
The limits of Jameson's approachbecome clearest in his section on thelehrstucken, Brecht's didactic "teachingplays" of the '30s, which offer the richestpickings for anyone convinced that theman was simply an apologist forStalinism. These short plays are as cheer-fully paradoxical as anything Brechtwrote, but the contradictions and ironicreversals always serve to uphold, ratherthan undermine, a particular perspective:that of the revolutionary and theCommunist. In The Measures Taken, forexample, a young agitator in China isexecuted for sympathizing excessivelywith the coolies; his killers are exonerat-ed before a Party tribunal.
In their own way, the lehrstucken areentirely admirable attempts to face up tothe contradictions of Communism inthe '20s and '30s. But they can hardly betaken at face value by modem readers,least of all Jameson's; what then is he tomake of them? To his credit, he doesn'ttake the obvious tack: that these piecesare slyly undermining the world-viewthey seem to espouse. They're simplytoo well put together as propaganda forthat reading to get any purchase.
It's a sign of the magnitude of the dif-ficulty the lehrstucken create for Jamesonthat he resorts to a strategy usednowhere else in the book: an examina-tion of how these plays were actuallyperformed. The object of the propagan-da, he notes, was the actors, not theaudiences; and in rehearsals and perfor-mances, the whole cast would rotatethrough all of the parts. Interesting: Was
what seems to be an apology for Partyruthlessness really simply an exercise inlooking at a problem from every side?
I don't think so. Brecht was a Red, not(or not just) a proto-postmodernist. Atthe end of the day, he sometimes meantwhat he said. His doctrine was morethan his method.
U nlike many of today's radicals,who see fragmentation, decenter-
ing and the breaking down of identitiesas ends in themselves, Brecht knewthat any effective political projectrequired a fixed place to stand. Likemany of his comrades, Brecht was alertto the failures and absurdities ofCommunism and the Soviet Union,but he made his compromises withthem—and worked to support them inhis writing—because he believed thatit was not enough to tear down theinstitutions of capitalism; alternativeshad to be built in their place.
Of these complex and troubling ques-tions only hints can be found in Brechtand Method. Jameson observes, intriguing-ly, that "much of left dialectics, from 1917onwards, was generated by the conceptu-al dilemmas offered by [the conflict]between the particular and the universal,between a specific historical fact ordatum—the Soviet Union, with its ownnational and local requirements—andthe universalism of a left class politics."And in a footnote he admits that consis-tency would require him to commit hisBrecht more fully to the "decentered" andthe "heterogeneous," though he would"prefer not to." But these admissions thatsome tension exists between his univer-sally subversive Brecht and the concretepolitical project to which the real Brechtwas dedicated are, at best, eddies runningagainst the main current of the book.
Yet Jameson's depiction of Brecht isstill a compelling one, not so muchwrong as incomplete. And the centralthesis is hardly all there is in Brecht andMethod. It is a rich book, one that strikesout in many different directions at once,many of which aren't touched on here. Inthe end, perhaps the secret of Jameson'sgreatness, like Brecht's, is that he doesn'tadhere to his method too strictly. •
J.W. Mason works for the AFL-CIO andhas also written for The Baffler, TheNation and The American Prospect.
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*'X^
Welcome to the the Nightly Peoples Report with your host Dennis Hans
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In the Peoples of Color Market, the Angolan fell to 44,000to the American while the Cuban closed up 500 points at13,000, reflecting a strong rookie pitching crop that has scoutssalivating. The Haitian climbed 800 to 22,000 followingJDisney's announcement of a summer blockbuster with textiletie-ins. The modern version of Snoyv White finds the sevendwarfs living the good life in a Port-au-Prince assembly shop.
Today saw another big sell-off of Timorese as investorsremain frightened by Western support for intensifiedIndonesian repression. While Jakarta and Washington pay lipservice to Timorese aspirations for independence, savvy ana-lysts are not impressed. They say the Timorese, which closedat 52,000, could go the way of the Iraqi.
Speaking of which ... indifference is so great that in arecent poll of people managers, 95 percent were unawarethat eight years of economic sanctions had taken a million ormore Iraqis off the market.
Some analysts credit President Clinton for devaluingthe Iraqi to 500,000, while others feel a hands-offapproach might trigger a recovery. In any event, the Iraq!has been demoted from the Peoples Market to theCommodities Market, where it is pegged at 200 to thecow and 25 to the soybean.
,; l rid now, tonight's commentary: Once again, govern-gxf ment intervention in the Peoples Market has reared itsugly head. While the Exiled Kosovar is a great story, theNATO-organized relief effort has artificially inflated its value.In a free system of freely traded humans, the Exiled Kosovarwould be worth no more than the Rwandan or theGuatemalan. Let's allow the market to work its magic. In thelong run, we'll all be better off.
Thank you for watching the Nightly Peoples Report. Happyinvesting, and may you never sell people short. •
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