Capitalist Realism

An analysis of the ways in which capitalism has presented itself as the only realistic political-economic system.

As the world has been reshaped since the 1970s by economic globalization, neoliberalism, and financialization, writers and artists have addressed the problem of representing the economy with a new sense of political urgency. Anxieties over who controls capitalism have thus been translated into demands upon literature, art, and mass media to develop strategies of representation that can account for capitalism’s power. Reading Capitalist Realism presents some of the latest and most sophisticated approaches to the question of the relation between capitalism and narrative form, partly by questioning how the “realism” of austerity, privatization, and wealth protection relate to the realism of narrative and cultural production. Even as critics have sought to locate a new aesthetic mode that might consider and move beyond theorizations of the postmodern, this volume contends that narrative realism demands renewed scrutiny for its ability to represent capitalism’s latest scenes of enclosure and indebtedness. Ranging across fiction, nonfiction, television, and film, the essays collected here explore to what extent realism is equipped to comprehend and historicize our contemporary economic moment and what might be the influence or complicity of the literary in shaping the global politics of lowered expectations. Including essays on writers such as Mohsin Hamid, Lorrie Moore, Jess Walter, J. M. Coetzee, James Kelman, Ali Smith, Russell Banks, William Vollmann, and William Gibson, as well as examinations of Hollywood film productions and The Wire television series, Reading Capitalist Realism calls attention to a resurgence of realisms across narrative genres and questions realism’s ability to interrogate the crisis-driven logic of political and economic “common sense.”

Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language. This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‐century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.

The Frankfurt School meets Fisher in this critique of capitalism incorporating memes, mental illness and psychedelia into a proposed counterculture. Spring 2020 to 2021 was the year that did not take place. We witnessed a depression, not economically speaking, but in the psychological sense: A clinical depression of and by society itself. This depression was brought about not just by Covid isolation, but by the digital economy, fueled by social media and the meme. In the aftermath, this book revisits the main Frankfurt School theorists, Adorno, Horkheimer, Benjamin and Marcuse, who worked in the shadow of World War Two, during the rise of the culture industry. In examining their thoughts and drawing parallels with Fisher's Capitalist Realism, The Memeing of Mark Fisher aims to render the Frankfurt School as an incisive theoretical toolbox for the post-Covid digital age. Taking in the phenomena of QAnon, twitch streaming, and memes it argues that the dichotomy between culture and political praxis is a false one. Finally, as more people have access to the means for theoretical and cultural broadcasting, it is urged that the online left uses that access to build a real life cultural and political movement.

A collection of transcripts from Mark Fisher's final series of lectures at Goldsmiths, University of London, in late 2016. Edited with an introduction by Matt Colquhoun, this collection of lecture notes and transcriptions reveals acclaimed writer and blogger Mark Fisher in his element -- the classroom -- outlining a project that Fisher's death left so bittersweetly unfinished. Beginning with that most fundamental of questions -- "Do we really want what we say we want?" -- Fisher explores the relationship between desire and capitalism, and wonders what new forms of desire we might still excavate from the past, present, and future. From the emergence and failure of the counterculture in the 1970s to the continued development of his left-accelerationist line of thinking, this volume charts a tragically interrupted course for thinking about the raising of a new kind of consciousness, and the cultural and political implications of doing so. For Fisher, this process of consciousness raising was always, fundamentally, psychedelic -- just not in the way that we might think...

This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

'Capitalist realism' implies that, ever since the fall of Soviet communism in 1989, capitalism has been the only realistic system of production and distribution. Everything else is generally dismissed as 'utopianism' or just naïve dreaming. This perspective points to a worrying failure of imagination, suggesting that it is now easier to imagine the end of the world than the end of capitalism. But here is the paradox of capitalist realism: just as the dominant cultural imagination has contracted into a single vision of what is possible, the existing system shows itself to be in the process of self-destructing, serving neither people nor planet. Whether by design or disaster, the future will be post-capitalist. In his fourth book of collected essays, degrowth scholar and activist Samuel Alexander seeks to transcend capitalist realism. He shows that viable and desirable alternatives are being lived into existence today by diverse but connected social movements. Calling for a 'degrowth' transition of planned economic contraction, Alexander examines and develops this emerging paradigm from various political, energetic, and aesthetic perspectives. Readers will come away seeing plausible pathways to prosperity, sustainability, and resilience that do not rely on the capitalist growth model of progress.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 In the film Children of Men, it is difficult to imagine a world without capitalism. The world that it projects seems more like an extrapolation or exacerbation of ours than an alternative to it. #2 The film connects with the suspicion that the end has already come, and that the future will only be re-permutation and re-iteration. It is clear that the theme of sterility must be read metaphorically, as the displacement of another type of anxiety. #3 The power of capitalist realism derives in part from the way that it subsumes and consumes all of previous history. It objectifies and commodifies all cultural objects, and in doing so, transforms practices and rituals into mere aesthetic objects. #4 The end of history heralded by Francis Fukuyama after the fall of the Berlin Wall is often derided, but it is accepted at the level of the cultural unconscious. The idea that history has reached a terminal beach is not just triumphalist, but also warning that history’s specters will be Nietzschean rather than Marxian.