Sleep Spaces

The actual consideration of what fascism is is rather something of general import. A number of folks here have deferred to Umberto Eco's Ur-Fascism, and while I wouldn't discourage it, it is a text from the perspective of semiotics; that is to say, from the perspective of what signifies fascism, not what it is per se. Hence also why Eco emphasizes that none of the fourteen ways he describes are strictly necessary or sufficient for fascism, just that fascism as it has emerges coalesces around such signifiers. The aesthetics and rhetoric of fascists is rather succinctly summed up in Ur-Fascism, but what fascism is in a more direct, structural sense is a somewhat different consideration.

The governing structure of fascist Italy, as an example, retained many of the facets of the liberal democratic system from which it emerged, with a legislature, a judiciary, and an executive. Mussolini was legally the prime minister- though he adopted the title of Duce, literally "leader"- and was appointed by a legislative council- though a new one created by the fascist party called the Grand Council of Fascism that by and large excluded the previous legislature- and the prime minister could legally be dismissed by the head of state, the king, after a sustained vote of no confidence similar to the UK's formulation. Fascist Italy also redoubled- rather than invented- Italian colonial policy, promoting the settlement of Italians into Libya and other African colonial projects and the genocide of local populations. The domestic economic policy of fascist Italy was also much more explicitly in the interests of private business: in 1939, the whole of Italy was explicitly proposed to be legally divided into 22 corporations which appointed members to parliament; labour organization outside of the appointed corporate structures and striking as a practice were banned. The interests of fascist Italy's ruling bodies was very overtly bourgeois, and their economic policy is often referred to as specifically corporatist.

Nazi Germany was similar in structure, though while the German parliament- called the Reichstag- was maintained, a series of laws were passed which enabled the Chancellor- Hitler, who was appointed such by President Hindenburg- and the cabinet to implement laws without parliamentary or presidential approval. The Hitler cabinet is generally considered to have been the defacto ruling body of Nazi Germany, though members of the Reichstag obviously still convened and drafted laws and ran elections and generally supported Nazi rule and the judiciary remained a distinct body. The Nazis also wanted to redouble their colonial policy in specifically Africa- a theatre in which they were snubbed compared to other European powers- but were by and large unable to secure resources there for continued expansion due to the British opposing them in protecting its own colonial projects. A rather infamous and demonstrative guiding principle of Nazi economic policy, Lebensraum- literally "living space"- sought specifically to appropriate land and other productive capital to give to Germans that they might be made petite bourgeois and small artisans; de-proletarianized and bourgeoisified, at the same time that the people such capital is expropriated from were made slaves to fuel further expansion or killed outright. This was imposed both within and, once the resources of social underclasses at home ran dry, without. The interests too of Germany's ruling bodies was very overtly bourgeois.

What all of this is to say is primarily that fascism as a governmental system is a legal permutation of liberal democracy, rather than a strict departure from it. The overriding interests of fascist states are also commensurately the interests of the bourgeoisie of those nations. It's an entirely logical progression of liberalism, to be frank, and a rather stark example of why liberal states should be opposed. The most violent fascist policy at home is often simply what liberal states have as their explicit foreign policy, for instance. As for whether this or the other politician in a liberal democracy is a fascist, I'd ask first and foremost that it be known that the Nazi policy of expansion was based first on the US policy of expansion; the cart isn't pulling the horse, as it were.

“You are the void and the cinder Bird without head with wings beating the night The universe is made of your slight hope

The universe is your sick heart and mine Beating to skim death To the cemetery of hope

My pain is joy And the cinder is fire.” Georges Bataille

The Cold Mountain Poems

Always it’s cold on this mountain!

Every year, and not just this.

Dense peaks, thick with snow.

Black pine-trees breathing mist.

It’s summer before the grass grows,

Not yet autumn when the leaves fall.

Full of illusions, I roam here,

Gaze and gaze, but can’t see the sky. Hanshan

« We can define rituals as symbolic techniques of making oneself at home in the world. They transform being-in-the-world into a being-at-home. They turn the world into a reliable place. They are to time what a home is to space: they render time habitable. They even make it accessible, like a house. They structure time, furnish it. . .

Ritual practices ensure that we treat not only other people but also things in beautiful ways. . .

[T]oday, many forms of repetition, such as learning by heart, are scorned on account of the supposed stifling of creativity and innovation they involve. The expression ‘to learn something by heart’, like the French apprendre par cœur, tells us that apparently only repetition reaches the heart. In the face of increasing rates of attention deficit disorder, the introduction of ‘ritual studies’ as a school subject has recently been advocated as a means of reviving the exercise of ritual repetition as a cultural technique. Repetition stabilizes and deepens attention. Rituals are characterized by repetition. Repetition differs from routine in its capacity to create intensity. »

— Byung-Chul Han, The Disappearance of Rituals

Sacrifice

‘me’, I exist—suspended in a realized void—suspended from my own dread— different from all other being and such that the various events can reach all other beings and not 'me’ cruelly throw this 'me’ out of total existence. But, at the same time, I consider my coming into the world—which depended on the birth and on the conjunction of a given man and woman, then on the moment of their conjunction. There exists, in fact, a unique moment in relation to the possibility of me—and thus the infinite improbability of this coming into the world appears.

•Georges Bataille, Visions of Excess Selected Writings, 1927-1939

Where is it coming from, this echo, this huge No that surrounds you, silent as the folds of the yellow  curtains

Margaret Atwood, from “Up”, Eating Fire: Selected Poetry 1965-1995 (via known-stranger)

'There is not narcissism and non-narcissism. There are narcissisms that are more or less comprehensive, generous, open, extended. What is called non-narcissism is in general but the economy of a much more welcoming and hospitable narcissism. One that is much more open to the experience of the Other as Other. I believe that without a movement of narcissistic reappropriation, the relation to the Other would be absolutely destroyed, it would be destroyed in advance. The relation to the Other, even if it remains asymmetrical, open, without possible reappropriation, must trace a movement of reappropriation in the image of one's self for love to be possible. Love is narcissistic.' JACQUES DERRIDA POINTS STANFORD UNIVERSITY PRESS, 1995

_The humanistic cinema of Yasujiro Ozu, where frames, sometimes, speak louder than characters. 

who can ever dare a 'we' without trembling

who can ever dare a ‘we’ without trembling? who can ever sign a 'we'– in english, 'we subject’ in the nominative, or an 'us’, in the accusative or the dative? […] we met (each other), we spoke, wrote (to one-another), we loved (one another), we agreed (with each other) – or not. to sign a 'we’, an 'us’ may already seem impossible, far too weighty or light, always illegitimate amongst the living.

—Parallax 6(4) (2000): 28

Lucy Bull (American, 1990), Weed, 2020. Oil on linen, 84 x 56 in.