Walter Benjamin's Grave
ααααΆ 2010 Β· University of Chicago Press
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In September 1940, Walter Benjamin committed suicide in Port Bou on the Spanish-French border when it appeared that he and his travelling partners would be denied passage into Spain in their attempt to escape the Nazis. In 2002, one of anthropologyβsβand indeed todayβsβmost distinctive writers, Michael Taussig, visited Benjaminβs grave in Port Bou. The result is βWalter Benjaminβs Grave,β a moving essay about the cemetery, eyewitness accounts of Benjaminβs border travails, and the circumstances of his demise. It is the most recent of eight revelatory essays collected in this volume of the same name.
βLooking over these essays written over the past decade,β writes Taussig, βI think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.β Although thematically these essays run the gamutβcovering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shamanβs body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violenceβeach shares Taussigβs highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.
Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjaminβs grave, Taussig, with this collection, provides his own literary memorial to the twentieth centuryβs greatest cultural critic.
βLooking over these essays written over the past decade,β writes Taussig, βI think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.β Although thematically these essays run the gamutβcovering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shamanβs body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violenceβeach shares Taussigβs highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.
Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjaminβs grave, Taussig, with this collection, provides his own literary memorial to the twentieth centuryβs greatest cultural critic.
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Michael Taussig is professor of anthropology at Columbia University. He is the author of nine books, including, Shamanism, Colonialism, and the Wild Man;Law in a LawlessLand; and My Cocaine Museum, all published by the University of Chicago Press.
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