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Ghosts of My Life by Mark Fisher – Furiously Intellectual Cultural Insights | Essay

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SSince his death in 2017, Mark Fisher has a reputation for being promoted to the status of a national treasure of a dissident country. His work as a left-wing cultural critic continues to inspire young people in particular. Fisher’s murals decorated the Birkbeck University in London, where he once taught, and hired him as one of the heroes. However, his book has not been widely reviewed in his lifetime, and his influence was primarily a word-of-mouth phenomenon. Now his publisher, the small indie press Zero Books, introduces context-establishment by Fisher’s archivist Matt Corkhorn and his close friend, music critic Simon Reynolds. Republishing Fisher’s 2014 essay collection, supported by the bitter aftereffects of.

When I first read this book, I saw the fiery glow of Fisher’s writings, the thrilling futurism of his ideas, and his chaotic reference (science fiction, electronic music, post-modernist theory, rebellious literature). , Post-punk) I was crazy about it. The second reading seems dazzling.what ghost Stand out from Fisher’s more famous Capitalist realism Here, instead of tackling political theory head-on, he trains his unstable intelligence primarily in popular music, movies, and television (he does so in his wonderful posthumous collection). k-punk). His talent for infecting readers with his fascination becomes immediately apparent, even when these are long forgotten or related to adolescent subjects. Started analysis of “antology” culture reminiscent of the 1980s fantasy TV series Sapphire & steel, He embarks on the era of “fantastic public broadcasting” and “popular modernism” that blossomed in Britain in the late 1970s, along with postwar welfare states and higher education grants, cheap rents, and crouching culture. .. Fisher argues that important art requires “withdrawal,” slow experimentation, and rapid turnover of profits. His golden age of art pop, the “strictly modernist” working class autobiography, continued until the advent of Margaret Thatcher’s neoliberal fanaticism.

Ghost of my life Pop culture in the early 21st century sank into the quicksand of nostalgia, claiming that its stagnant retro fixation was mistakenly hidden by a constant hype cycle of “new.” The glitch theme of time lag and memory is repeated. Epigraph is the lyrics of Drake. Memento(Both the wrapper and the movie will be featured later in the text). For Fisher, our century was a slowdown after a dazzling neuronal hypershift in dance music in the 1990s, and he was an enthusiastic participant in it.

Divided into three sections, “The Return of the 70s,” “Hauntology,” and “The Stain of Place,” the book begins with the brave genealogy of 1981 masterpieces by the artgram band Japan. Fischer enthusiastically celebrates the 90’s “dark side jungle” music (“release of anxiety itself … a kind of fictional intensification and extrapolation of the sound of solidarity and the destruction of security in the neoliberal world”), and muddy Gender-melting music tricky, like cannabis. Joy Division’s noble work is an endlessly mythical band that recognizes the horrifying culmination of rock death drive.

A sketch from the 70’s return section of the book. Illustration: Stuart / Laura Oldfield Ford

Fisher’s depressive suffering is inherent in his work, but the explicit naming of the state of the book’s subtitles seems to me a mistake and gives the impression that it is rather inaccurate. ghost This is Downer Reed. Fisher’s outlook is certainly bleak, but seeing him overtake and betray the devil of his life and seeing him enthusiastically switch between enthusiastic advocacy and fierce demeanor is not a contraction. , It’s a thrilling score. His prose is like forcing an inseparable part of the sensual charisma of the language in which the idea is expressed. He evokes music with a lyrical storm of stimulating and synergistic images, not jargon – Burial’s Not true Is “London’s Audiovision as a City of Betrayed and Cut Angels”. He can also make a sharp saying. “In a digital recall situation, the loss itself is lost.” “Depression is, above all, a theory about the world and about life.”

The unique joy of reading Fisher is that while other leading critics (think Jeff Dyer and Brian Dillon) generally apply sophisticated critical intellectuals to reasonably rare subjects. The enthusiastic loyalty of the stock is to instinctively pop avant-garde culture. An article about the premature canonized German writer WG Sebald criticizes him for writing “as if much of the experimental novels and popular culture developments of the 20th century never happened.” Fisher briefly quotes Deleuze and Lacan and compares them to De Chirico and Antonioni, but usually Terminator Also Child of man Or the work of a breakbeat sorcerer after dubstep.

His taste was sometimes suspicious. Instead of providing the thrill of internal organs, he moved from advocating for bloodless brain music that met theoretical prejudices to praising his reprimanding slogan, Sleaford Mods. And there are people whose antiquated concept of anthology is just an expression of middle age. Laziness. But none of them can be intriguing with this amphetamine rush in the book. When Fisher embarked on his passion (burial, caretaker, jungle, David Peace), there was no one like him. If you miss it for the first time, or if you miss it, this book will brighten your brain like most other books. Ironically, it’s also hopeful. Britain, which can produce something like Fisher, has not yet been defeated.

  • Ghosts of My Life: Depression, Antology, The Lost Future Mark Fisher’s book is published by Zero Books (£ 13.99).To support Guardian When Observer Order a copy at charges may apply