Eli Zaretsky

By my title,“The War on Fascism,” I do not mean the war between the US, the Soviet Union and Great Britain, on the one hand, and Nazi Germany, Mussolini’s Italy and imperial Japan on the other, the war that took place between 1939 and 1945. Rather I mean an unspoken war on the concept of fascism that increasingly characterizes our understanding of World War Two and informs discussion of contemporary problems, such as Ukraine. Although the term “fascism” is still in use today, it generally refers to real or supposed dictatorships, such as those of Saddam Hussein or Vladimir Putin, and has lost its original connotation, that of an authoritarian but still capitalist state. Because the original meaning of “fascism” was aimed not at dictatorship, but at the relation between dictatorship and private property and market power, the term had a critical or self-reflective character. Understanding the loss of this character can help us understand the history by which present political discussions, for example those concerning Putin, have become impoverished. …

“The Women Did It?” by Ann Snitow and Victoria Hattam correctly argues that we need to understand the conflicts and splits of the late nineteen sixties if we are to build a New Left today. Today’s Left is rooted in the decisions and turning points of that time, and it will be hard to build something new until we come to grips with our past. However, Ann and Vicky (for we are all friends) frame the issues wrongly in that they are essentially concerned with blaming and defending. They reiterate that the men of the New Left really were sexist, and that the women of the New Left really had not meant to destroy the New Left in creating women’s liberation. This is not the way to think about it.

To be sure, I would be fool indeed to “blame” women for the demise of the New Left, as Ann and Vicky suggest I do. The women’s movement of the late sixties was akin to a natural force, a great river of emotion and eloquent power; who would blame a river? …

Recently the net has seen various ten best lists of works in American history. I’d like to propose one of my own, but first I want to explain my rationale. American historical writing was transformed in the 1960s by two things: the realization that slavery and racism were the foundations of American history and the enormous achievements of such Marxist historians and social thinkers as Eric Hobsbawm, EP Thompson and Immanuel Wallerstein. Works produced during and after the sixties have given us a dramatically new picture of the country and my list reflects this. In addition, I choose works that look at American capitalism as a whole, not works that narrowly confine themselves to particular “fields,” like political history, economic history and so forth. Finally, I have chosen works that help us to see the United States in a global perspective even if the works are not themselves comparative or transnational. Here is my list: …

Two films frequently cited together on the best films lists for 2013 were Gravity and All is Lost. As many reviewers noted, the films featured isolated individuals up against the cold, impersonal forces of the universe — the dark void of outer space for Sandra Bullock in Gravity and the dark depths of the Indian Ocean for Robert Redford in All is Lost. Less noted was a crucial difference between the two films: Sandra Bullock survives and Robert Redford dies. Intrinsically connected to these outcomes is another difference: Gravity is the story of a woman; All is Lost is the story of a man. Through examining this difference we can learn how contemporary film achieves its effects through mobilizing unconscious mythic and archetypal images, especially those concerning gender.

In both films the main character is faced with the ultimate existential crisis: imminent death. In both films the characters are resourceful and draw on considerable inner resources in their struggle to survive. In both films the essence of the struggle lies in the characters’ efforts to connect with other human beings. …

The recent death of Shulamith Firestone marks a milestone in the history of second wave feminism, and encourages an historical perspective. Firestone was one of the most inspired and original political intellectuals of the sixties, and a founder of the modern feminist movement. I can speak personally here of the impact of Firestone’s Dialectic of Sex (1970) on my own life. When I first read the book, upon its publication, I immediately recognized that its portrait of a universal system of male domination rooted in the family was both the most important challenge to the Marxism that had shaped my worldview, and an equally important corrective to its blind spots. My 1972 book, Capitalism, the Family and Personal Life began as a review of Firestone’s work and proposed both to answer and to learn from it.

In a recent New Yorker (April 15, 2013) Susan Faludi provided a powerful and moving account of Firestone’s brief, brilliant career and its tragic aftermath.Firestone was only twenty-five years old when she published Dialectic of Sex.