People :
Author : Hari Alluri
Author : Carla Bergman
Author : Nick Montgomery
Text :
We’ve all heard so many conflicting words
About life, whether wrong or right
How you gotta be workin’ hard
And it ain’t no easy job
To survive. Just keep it alive
—Gil Scott-Heron, “Willing”
Like the moment when I first heard Gil Scott-Heron, I knew upon first read that I would return to this book. The isolations of capitalism and the despairs of facing Empire’s increasingly blatant yet always insidious machinations, oppressions, and attacks will drive me to seek the reminders that are here: of how to recognize my own moments of rigidity, and of how to recognize—beside, within, and far from me—moments of transformation. Though written by two white folks with deeply different experiences than Gil—folks who crucially implicate not just their privileges but also their behaviors—this book, like the song “Willing” quoted above, offers the echoes of sparks that pull me through lamentation towards reflection and action. Against the types of moments that, within movements, can lead to a “loss of collective power,” both song and book offer me images of radical folks engaged in outright and everyday acts of resistance. They let me glance back, not nostalgically but gladly, at the faces of folks in my own communities actively supporting each other in radical friendships and lives whose resemblance to mainstream representations of happiness is only cursory: because there is a strength I see there that comes from—as carla bergman and Nick Montgomery identify it—the type of joy that looks and feels like growing more powerful together.
This book troubles the second line of Gil Scott-Heron’s “Willing,” a song which, like much of his most powerful and resonant work, itself carries an air of troubling. Joyful Militancy called me back to this song and also through it because the project of this book is to move beyond “wrong or right” into a space of ethical questioning that is always already conflicting yet, while shifting, can also be strong ground on which to build. As bergman and Montgomery identify in their Introduction, “rigid radicalism” stifles productive tension and risk taking by tending “towards mistrust and fixed ways of relating that destroy the capacity to be responsive, creative, and experimental.” They continue astutely, refusing to fix “joyful militancy” as an ideal, thinking of it instead as “a fierce commitment to emergent forms of life in the cracks of Empire, and the values, responsibilities, and questions that sustain them.” The structure and focus of the book are both attentive to moments of slippage and to regenerative practices. Because of this, I recall again listening to Gil Scott-Heron. I am thinking now of live versions of songs played with a full band that slip into and out of long and beautiful minutes of improvization, especially versions of “The Bottle” in which Gil identifies the rhythm as Guan Guanco, “the rhythm of rebirth and regeneration” that survived the middle passage, a rhythm whose timing, like Gil's lyric tenacity from “The Revolution Will Not Be Televised” through “The Bottle” to “Willing” and beyond, can be troubling even as it cycles. One of the most powerful elements of Joyful Militancy is its commitment to remaining ever troubled: because no single program can give us the comfort of handing over to it the burdens of the work itself; because to remain troubled is to sustain a space of movement; because so many movements offer examples of a potential beauty that is itself improvised and cyclical.
This book is about connections, about echoes. It is built, as “Willing” is, on an acknowledgment of uninterrupted survival and resistance. In choosing examples of movements and moments in which people offer everyday and organized versions of joyful militancy, bergman and Montgomery remind us that, despite all attempts to eradicate dissent, despite genocides and pogroms and police attacks and surveillance and micro-aggressions and the myriad ways in which we hurt each other, we are uninterrupted. We are always already in conversation with movements and moments of the past that were themselves about growing more powerful together, having each others’ backs, resisting corrosive practices while retrieving supportive ones, choosing to work and grow in friendships less rusted by the imperatives of capitalism and Empire: “There are—and there always have been—many places and spaces where alternatives are in full bloom.”
Crucially, this book begins inside movement spaces, spaces in which critiques of colonization, capitalism, and Empire already exist: bergman and Montgomery are not set out to convince a non-radicalized audience of the need to resist. Rather, combining rigor with accessibility, they affirm the lineages and contemporary currents of radical thought and practice they draw from while acknowledging the historical violences that made and make them necessary. Echoing Rebecca Solnit, they state, “Everyday life under Empire is already a certain kind of disaster.” In a time when “anarchist” is treated by too many as an empty epithet, in a time when the most vulnerable communities are being targeted with cruelty, they openly state that “for joy to flourish, it needs sharp edges.”
This book’s opening urge is to respond to the affective imperatives of what the authors term rigid radicalism:
It is the pleasure of feeling more radical than others and the worry about not being radical enough; the sad comfort of sorting unfolding events into dead categories; the vigilant perception of errors and complicities in oneself and others; the anxious posturing on social media and the highs of being liked and the lows of being ignored; the suspicion and resentment felt in the presence of something new; the way curiosity feels naïve and condescension feels right.
Affect is easily one of the more under-attended drivers of recent world events beyond and within movements and it may also be among the most crucial spaces of intervention. The description above reminds me of despair, the despair I felt at times from Gil Scott-Heron that ached and aches me the most. At times, Gil seems to despair that his audience does not quite hear, does not quite grasp his message. It is precisely my own potential for this specific type of despair that I feel bergman and Montgomery help me combat, because it is a form of despair that is to the benefit of Empire. It is a despair which, in my experience, leads to isolation. When Gil passed on, friends, most of whom I had first met through different movements and organizations, reached out. I experienced a solidarity from them that was joyful in the sense of being co-realized, even as I was steeped in grief at the loss of an ancestor. As bergman and Montgomery note, “The self-enclosed individual is a fiction of Empire, just like the State. ‘I’ am already a crowd, enmeshed in others.”
More widely, in conversation and collaboration with friends, with folks of divergent yet in-solidarity movements, they offer invocations instead of correctives. The authors accurately declare that ancient ways of growing more powerful together are always alive in the experiments of our activisms and our lives. bergman and Montgomery have at the same time a deep sense of how differences are necessary—of how specific oppressions we have faced position us to question, to offer that which other positions cannot—and of how our movements have built and can build from the small overlaps and resonances, not just because we all carry multiple identities but because certain common notions as well as differences we hold can bring us to have each others’ backs.
bergman and Montgomery move by questions and attempts at response, noting how “common notions can only be held gently, as flexible, living ideas that are powerful in and through the relationships and processes they sustain.” They converse with Black liberation, anti-violence, queer, youth, anarchist, and Indigenous resurgence movements. Theirs is something of a poetics: reminders and troublings of that which is always already present, whether in terms of the rigid radicalism that so often decays relationships within and between movements or in terms of identifying, supporting and learning from moments and movements of empowered and empowering resistance. They offer a reading and imagining of empowerment that is Spinoza-inflected, anarchist-inflected, solidarity-inflected joy. Noting their own process, they acknowledge, “Neither of us could have written this book, or anything like it, alone. And the collaboration has made us each more capable, in different ways, together.”
As I write this, my love—after a morning drawing fists on butcher paper to paste to placards—has gotten to her sister’s to help their mom with caregiving for the babies. Her militancy, while divergent from the politics of some of her family, is steeped in an ethic of invitation and sharing that she learned from them and, right now, our niece is coloring in a cutout of a brown fist almost as large as her. This is another version of the troubled and beautiful messiness that bergman and Montgomery remind me of in Joyful Militancy. I am thankful for it even as I sit with my grief at the present political moment and my urge to activate and be activated by those I love and those I’ve never met who, though far, are never quite distant.
Dear Gil,
Lolo, thank you for offering me moments of militant experimentation and troubled joy. For your work’s anticipation of the growth of anti-apartheid solidarity with the people of South Africa. For when, decades later, many took to social media to reach out to you and, still willing in your final year of life, you heard their call and took up anti-apartheid solidarity with the people of Palestine. For so many moments that preceded them, moved between them, and followed them—moments of insight, moments of despair, moments of joy. At times, my most urgent desire is to feel untroubled. Thank you for divesting me from it over and over. Here, Gil, are some words that trouble me and offer me hope, some words that, like your words below, in shifting from individual to collective, in invoking the work and joy of generations, move me to tears: “For us at least, there is no cure, no gas mask, no unitary solution: there are only openings, searchings, and the collective discovery of new and old ways of moving that let in fresh air. For the same reason that no one is immune, anyone can participate in its undoing.”
Love,
Hari Alluri, on Kumeyaay land, January 20, 2017.
What my life really means is that the songs that I sing
Are just pieces of a dream that I’ve been building
And we can make a stand and hey, I’m reachin’ out my hand
’Cause I know damn well we can if we are willing
But we gotta be …
From : TheAnarchistLibrary.org.
Chronology :
February 14, 2021 : Foreword by Hari Alluri -- Added.
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