Monday, December 23, 2024

Klaus Fuchs, Max Beer, and Our Anonymous Pamphleteer

Klaus Fuchs makes only a cameo appearance in this tale. But because he is far better known than Jürgen Kuczynski, his relationship to the latter helps establish the milieu in which our main character operated.

Fuchs is routinely referred to pejoratively as a "spy" who "stole" atomic secrets. A more nuanced view of his activities was offered by Sir Dick Goldsmith White, Director General of MI5 from 1953 to 1956, and Head of MI6 from 1956 to 1968: "He was a scientist who got cross at the Anglo-American ploy in withholding vital information from an ally fighting a common enemy."

In 1942, Fuchs met with Jürgen Kuczynski, who was then teaching at the London School of Economics. Kuczynski introduced him to the Soviet agent, Simon Kremer (codename: "Alexander"). After meeting with Kremer several times, Fuchs's intermediary was changed to Jürgen's sister, Ursula (codename: "Sonya"), so Fuchs wouldn't need to travel to London to hand over information. Biographies of both Klaus Fuchs and Ursula Kuczynski were published in 2020: Atomic Spy: The Dark Lives of Klaus Fuchs by Nancy Thorndike Greenspan and Agent Sonya: Lover, Mother, Soldier, Spy by Ben MacIntyre.

Although not as cinematic as his sister's or Fuchs's careers, Jürgen Kuczynski had his own moments of transnational intrigue, beginning in the mid 1920s with a stint as director of the American Federation of Labor's newly established statistical department. During his time with the AFL, Kuczynski developed new relative wage statistics and advised AFL president William Green on what Green proclaimed as Modern Wage Policy. In Labor Statistics and Class Struggle, Marc Linder described Kuczynski's contribution to AFL wage policy, characterizing him as "President Green's Marxist Ventriloquist." More on Kuczynski's eight-year sojourn in England can be found in "Jürgen Kuczynski: A German-Jewish Marxist Scholar in Exile" by Axel Fair-Schulz in German Scholars in Exile.

Kuczynski was a prolific writer, publishing over 4,000 articles and books during his career. In 1980, he wrote a piece for the Jahrbuch für Wirtschaftsgeschichte titled, "Das Verhältnis von Arbeit und Freizeit: Überlegungen zur Entwicklung vormarxscher Vorstellungen" ("The relationship between work and leisure: Reflections on the development of pre-Marxist ideas"). The last four and a half pages of the article consists mainly of long quotations from William Godwin and Karl Marx, interspersed with brief commentary, at a ratio of 3:1. Kuczynski's argument is not particularly original and, in fact, he credits Max Beer's Geschichte des Sozialismus in England (1913) for any original insights.

Like Kuczynski and Fuchs, Max Beer was a German émigré who was declared an enemy alien in England when war broke out between the two countries. In Beer's case, however, it was the First World War and he, a Jew, was safely deported back to Germany for the duration. After the war, he returned to England and published the greatly expanded History of British Socialism.

Unintentionally, Kucyzinski's gloss on Beer's interpretation reveals a subtle but significant difference between the German and English versions. In the English version, Beer greatly expanded his discussion of The Source and Remedy of the National Difficulties, from slightly less than a page to six full pages. But the German version contained a footnote in its section on William Godwin that was not replicated in the English version. Translated, that footnote read, "This sentence was later used by the pamphleteer. See Karl Marx, Theories of Surplus Value. III. 303." The sentence in question was, roughly, "the true wealth of man is leisure."

In the English version, Beer paraphrased Godwin's statement as "Real wealth was leisure." The pamphleteer's "beautiful" statement, "Wealth is disposable time, and nothing more" appears 128 pages later with no commentary linking it back to Godwin's idea or forward to Marx's appreciation. 

Of course, Beer's footnote was incredibly opaque unless one had a copy of Theories of Surplus Value on hand to explain who "Pamphletisten" referred to. Kuczynski's gloss on Beer's cryptic footnote was, I believe, correct:
Industrious leisure as wealth is indeed a wonderful idea that has been achieved by the [imaginative] flights of humanity into the future, an idea that Marx also happily adopted as an inheritance from the past. 

Not directly from Godwin, however, but from an anonymous pamphleteer who wrote a generation later and who, as Beer rightly suspects, adopted the idea of leisure as the wealth of the nation from Godwin. 

I suspect (that ol' hermeneutics of suspicion) that both Beer and Kuczynski were avoiding something, probably unconsciously, that would be unflattering to Karl Marx. For Beer, the clues are more explicit. Instead of expanding on an idea hinted at in a footnote, he eliminated it. For Kuczynski, Marx's "happy adoption" of the "wonderful idea" as "an inheritance from the past" elides the uncomfortable conclusion that Marx credited the pamphlet's "wealth is disposable time" nowhere in his published work but effusively in his unpublished writings. 

I don't mean this as crying foul. Marx made an analytical contribution that far surpassed Godwin's and Dilke's boldly-stated convictions. The standards for crediting sources are not written in stone. And, presumably, Marx fully intended to publish Theories of Surplus Value, which contained an extensive review of the pamphlet. He just never got around to finishing it.

The spectre of "plagiarism" haunts Marx's appropriation of the idea that wealth is disposable time for several reasons. First, Friedrich Engels brought up the matter of the pamphlet that "Marx saved from falling into oblivion" in the context of refuting accusations of plagiarism from Karl Rodbertus and his acolyte. Later, along with Karl Kautsky, Engels again refuted Anton Menger's charges that Marx was deliberately deficient in citing his sources. Oddly enough, Engels and Kautsky ignored Menger's disparagement of Engels's earlier claim that Marx's views on surplus value had been influenced by the pamphlet "which," according to Menger, "contains only faint hints of the theory."

Beer was ambivalent about Herbert Foxwell's introduction to Menger's book. In 1913, he wrote, "As a result of the author's passionate anti-Marxianism, I was thrown into a polemical mood during the lecture, which seemed to me to be a poor preparation for scientific research. I therefore soon put the book down..." Six years later, he referred to Foxwell's introduction as the only "adequate exposition" of the writings of Gray, Thompson, Hodgskin, and Bray, whose works were "almost unattainable."  Beer had little else to say about Menger's The Right to the Whole Produce of Labour other than to complain that Menger spread the exaggerated view of William Thompson's importance he received from Adolf Held's  Zwei Bucher Zur Socialen Geschichte Englands.

Giancarlo de Vivo said back in 2019 that The Source and Remedy "has not received the attention it deserves" considering Marx's own claims. Having immersed myself in Marx's appropriation and elaboration on the pamphlet's themes, I would put the case much stronger. Close attention to the pamphlet's influence on Marx fundamentally transforms what we know about the development of Marx's thought and what he meant by the contradiction between the forces and relations of production.

Wednesday, December 18, 2024

The more this contradiction develops...

The more this contradiction develops, the more does it become evident that the growth of the forces of production can no longer be bound up with the appropriation of alien labour, but that the mass of workers must themselves appropriate their own surplus labour. 





 

Thursday, December 12, 2024

Behind the Billboards

IMOGEN CUNNINGHAM: Roi had to restrain himself on art because after the birth of the twins he was at Foster and Kleiser, billboard advertising. Because they knew that I had a camera and was a photographer, they asked him to do billboards. You know, to go out and photograph them. He did very good shots. And all I could see of it was from Twin Peaks. He would tell me in what direction the light was. I guessed at the exposure. He did it on 4 x 7 film and he did a darned good job. He took it downtown to a place for development. One day he came home and said, "You know, there's a new girl at Marshios now, and she comes halfway across the counter." Guess who that was. Dorthea [sic] Lange. And we became acquainted with Dorthea Lange. He then introduced Dorthea to Maynard Dixon, who was also at Foster and Kleiser. This is the way artists had to earn a living. It was just problematical what they did on the side, but they all did something, you know. - Oral history interview with Imogen Cunningham, 1975 June 9

The twins, Padraic and Rondal Partridge, were born in 1917. As a child, Rondal Partridge spent time in Dorothea and Maynard's household. He later became Lange's assistant for her photography work with the New Deal's Farm Security Administration. 

Dorothea Lange by Rondal Partridge

Of particular interest to me is a series of photos Lange (and Partridge) took along U.S. highway 99 in California. She described the project in a "general caption": 


The billboards along highway 99 that Dorothea Lange photographed - along with a much later one by Ron Partridge - make up the visual backbone of my pop-up book, Marx's Fetters: a remedial reading. Not surprisingly many of those billboards bore the Foster and Kleiser logo. The company was the largest billboard company in California. Three of Lange's photos that I featured in Marx's Fetters were of billboards for the National Association of Manufacturer's "American Way" propaganda campaign.
 
The N.A.M. had been the most ardent opponent of the 8-hour day and vigorously  promoted the so-called lump-of-labor fallacy myth to discredit advocates of shorter hours and "educate the educators" in the nation's college economics departments. It stands to reason that they should take credit for the world's shortest working hours once the stock market crash and Great Depression had forcibly reduced hours.

Ron Partridge had also photographed the "World's Shortest Hours" billboard mounted on the side of a dilapidated pipe and plumbing supply shop that also bore the legend, "We Buy Junk." The "World's Highest Standard of Living" billboard was made famous by Margaret Bourke-White's LIFE magazine photo of African-American Ohio River flood survivors lined up for relief supplies in Louisville, KY.  

A few years past a quarter of a century after Lange's highway 99 billboard photos, Ron Partridge photographed a "New Chevy" billboard looming over piles of wrecked cars in Emeryville, California. Again the Foster and Kleiser logo appears discreetly just below the car's image.
It seems to me that this image is a companion to two others by Partridge, "Pave it and Paint it Green" and "El Camino Real, Palo Alto." For about four years my family lived on Tioga Court in Palo Alto, just a short bike ride from El Camino. The rubber stamp shop is probably the one I got a one-day job cleaning up along with my buddy and next door neighbor, Carl Coffee.
Perhaps it is not possible to fit into American life. American Life is a billboard; individual life in the U.S. includes something nameless that takes place in the weeds behind it. - Harold Rosenberg
Back to Dorothea Lange and highway 99 in the 1930s, there are 14 images in the Library of Congress collection of "Billboard along U.S. 99 behind which three destitute families of migrants are camped. Kern County, California" or "possibly related" to it. In my book, I fused two of the "possibly-related" images to show both the front and back of the billboard at the same time. The billboard company was Foster and Kleiser.
The images in Marx's Fetters do not illustrate Marx's text. Instead they allude to a complementary narrative of conspicuous consumption, progressive obsolescence, and "keeping the consumer dissatisfied" as the 20th century counterpart to Marx's 19th century analysis of capital's inevitable tendency to overproduction. In the weeds behind the prosperity boasting billboards are - literally - destitute families, junk shops, eroded landscapes, and auto wrecking yards.

In lieu of a theoretical essay to accompany the images, I will offer a reading list. The first two are satirical pieces by Kenneth Burke, the next two are affirmations of the wasteful practices Burke satirizes in his two essays. The two affirmative essays could be read as satire, which is to say they are cynical affirmations. The last three links are to my thoughts from early 2022 about Herbert Marcuse's, Thorstein Veblen's, and Georg Simmel's theoretical reflections on reification, consumerism, and planned obsolescence. The Marcuse post contains a hint about the connection between the Marx text in my pop-up book and planned obsolescence.

Waste - The Future of Prosperity 1930