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Mark Fisher. Cortesia do autor.

O legado anticapitalista de Mark Fisher

“Querido Mark”, começava um e-mail que escrevi para um homem que não conhecia nos primeiros dias de 2010:

Eu li o seu livro “Realismo Capitalista” na semana passada e senti vontade de sair para tomar um ar depois de um longo tempo debaixo d’água. Gostaria de agradecer do fundo do meu coração por dar uma expressão tão eloquente a praticamente tudo o que precisava ser dito e por fornecer um motivo de esperança, quando eu estava prestes a entrar em desespero.

Para aqueles que não estão familiarizados com o trabalho do teórico, escritor musical, jornalista, crítico de cinema, filósofo, editor e palestrante Mark Fisher, que tristemente tirou a própria vida em 13 de janeiro de 2017, o e-mail acima pode parecer hiperbólico ou bajulador. Não é nenhum, nem outro. Como tantos outros ativistas da minha geração, encontrar o conceito do livro Realismo Capitalista [o livro será publicado pela editora Autonomia Literária este ano] aos 25 anos de idade transformou minha vida.

Durante um período difícil – recentemente sofri uma colisão frontal com a indústria musical britânica – os textos de Mark me deram um motivo de esperança. Por meio de sua eloquência, lucidez, mas mais do que isso, sua capacidade de chegar ao cerne do que havia de errado com a cultura do capitalismo tardio e de certo em relação à suposta alternativa, ele parecia ter decifrado algum código inefável. Realismo Capitalista traz uma série de argumentos que contornaram anos de cobertura pós-moderna para oferecer uma base para a ação; era um chamado espiritual às armas, diagnosticando o problema neoliberal e reimaginando a solução socialista com uma força reveladora.

Essa descrição corre o risco de colocar Mark no duvidoso papel de mártir contracultural – um arquétipo para o qual ele próprio retornou repetidamente em seus escritos, com os exemplos de Kurt Cobain e Ian Curtis. Mas a produção literária de Mark, Realismo Capitalista em particular, sempre teve um aspecto profético. Ele parecia ter compreendido certas verdades sobre o século XXI muito antes que todo mundo, tanto que, após a tragédia da sua morte, as pessoas estão interpretando postagens escritas sob seu apelido de k-punk no início dos anos 2000 como comentários oportunos para entender nosso presente mal-estar.

Talvez meu encanto com Realismo Capitalista, como uma repentina epifania, venha do fato de que só conheci Mark nos seus últimos anos de vida, quando trabalhamos juntos na editora Zero Books e depois na Repeater, período em que ele adquiriu um certo grau de aclamação tardia.

Nas duas editoras, a equipe entendeu tacitamente que Mark era o coração do projeto, mesmo quando estava fora do radar por longos períodos. A certa distância, Mark foi nosso autor best-seller: um herói cult que atraiu gradualmente a atenção de políticos e celebridades como Slavoj Žižek, Laurie Anderson, John McDonnell e Russell Brand.

Ele também tinha nove décimos da nossa identidade, mesmo quando foi ficando cada vez mais silencioso ao longo do último ano. Quando saímos de Zero Books para formar a Repeater após uma longa disputa com a empresa que controlava a editora, sabíamos que, independentemente da legalidade da situação, Mark era a Zero Books e, portanto, era a Repeater, e que, em última análise, apenas ele possuía a propriedade moral de qualquer uma das marcas.

Para aqueles que conheceram Mark antes de mim, sua ascensão à centralidade intelectual na última década apareceu como o resultado inevitável de uma longa e rica trajetória, que combinava o comum e o unheimlich.

Ele nasceu em 1968 em East Midlands, uma área que fica numa falha ambígua entre o norte e o sul da Inglaterra. A região tem uma forte herança industrial e forjou os levantes luditas da década de 1810. Fica perto do terreno pastoral tradicional de escritores do sul da Inglaterra, como Thomas Hardy e M. R. James. Mark aludia regularmente a suas origens nesta região do país provinda da classe trabalhadora: em seus posts seminais no The Fall em 2006-7 e, mais controversamente, em sua polêmica de 2013 “Exiting the Vampire Castle“. Além disso, Mark escreveu sobre classe com mais sutileza e veemência do que qualquer outro crítico contemporâneo.

Havia, entre seus leitores, a sensação de que ele estava deixando algumas coisas não ditas. Eu sempre suspeitei que Mark estava desenvolvendo um excelente trabalho sobre identidade de classe nos anos setenta e oitenta. Nos últimos dois anos de sua vida, ele escreveu sobre a cultura do futebol e acho que esse assunto foi o cerne da questão para ele.

Um fato pouco discutido – porque é pouco conhecido – é que Mark compareceu ao Hillsborough Stadium em 15 de abril de 1989, quando noventa e seis torcedores do Liverpool foram esmagados até a morte graças à incompetência e à manipulação da polícia. Desconfiava sobre exagerar seu envolvimento pessoal – Mark era um apoiador do Nottingham Forest, ele permaneceu a alguma distância da posição em que as mortes ocorreram – e por isso falou raramente sobre Hillsborough. Entretanto, a tragédia e seu encobrimento subsequente impactaram profundamente sua mentalidade política.

Para Mark, os traumas coletivos do proletariado inglês nos anos setenta e oitenta representaram experiências cruciais – e sempre dolorosamente imediatas. Um longo trecho de sua antologia, Ghosts of My Life, de 2014, abrange a cultura pop britânica dos anos setenta, e seu projeto intelectual foi amplamente organizado em torno do que ele chamou de “modernismo popular”.

Esse projeto excedeu muito os estudos culturais. Mark nunca cedeu à nostalgia dos anos pós-guerra (como sublinham os riffs melancólicos de Joy Division e Jimmy Savile em Ghosts), mas ele acreditava que a contracultura social-democrata entre 1965 e 1997 representava o verdadeiro ponto culminante do modernismo no século XX. Como tal, significava o auge do desenvolvimento estético humano e estudá-lo se tornou uma fonte de imenso potencial radical. Como Owen Hatherley nos lembra, os escritos sobre a cultura pop de Mark não se engajaram nas irônicas reversões pós-modernas tão prevalecentes no final do século passado. Mark acreditava no poder da cultura de massa com todas as facetas que carregava em seu ser intelectual, e essa é uma das muitas coisas que o diferenciam de seus antecessores filosóficos, especialmente Žižek e Jameson.

Na década de 1990, Mark pegou o final do modernismo popular existente, quando mergulhou em uma cena intelectual que levou o pós-estruturalismo ao seu limite natural. Enquanto escrevia seu doutorado na Universidade de Warwick, ele se envolveu com a Unidade de Pesquisa em Cultura Cibernética (Ccru) de Nick Land, uma manifestação precoce e às vezes rebelde da tendência “aceleracionista” que foi recentemente revivida sob auspícios mais pragmáticos.

Com a alta cultura teórica agindo como um guarda-chuva, o grupo Ccru agarrou o zeitgeist – cyberpunk, ficção pulp, cultura da Internet – e seguiu em frente. Aqui, os principais motivos intelectuais de Mark foram sintetizados. Ele até se interessou pela produção musical, primeiro como membro do coletivo na selva D-Generation e depois como arquiteto da banda da garagem “Anticlimax (Inhumans Moreerotic Female Orgasm Analog Mix)”, cujo título oferece um lado de Mark pouco conhecido, mais brincalhão.

O período Ccru foi uma época de atividades inebriantes e Mark só se tornou crítico depois de 2000. Como uma pedra angular de uma comunidade de blogs que eventualmente incluía o jornalista musical Simon Reynolds, a filósofa Nina Power e o crítico de arquitetura Owen Hatherley, entre outros, “Mark k-punk” ajudou a desenvolver e popularizar uma nova sensibilidade intelectual centrada numa importante recalibração do conceito de “hauntologia“.

O termo surgiu como trocadilho nos Specters of Marx de Derrida, em 1994, mas Mark o usou como um meio de promover o modernismo popular em primeiro plano. Suas postagens no blog k-punk tipicamente se alternavam entre dissecações selvagens da cena musical moribunda de meados dos anos 2000 e extensas discussões sobre como a cultura pop socialista e social-democrata do pós-guerra continuava a assombrar o presente, uma época em que as alternativas políticas anticapitalistas praticamente evaporaram.

O conceito de hauntologia que Mark ajudou a divulgar começou como uma categoria amplamente estética durante um período de estagnação política. Após a crise financeira de 2008, no entanto, ela se tornou algo mais programático. Com seu amigo íntimo, o romancista Tariq Goddard, ele descreveu o melhor da cena dos blogs dos anos 2000 e fundou a editora Zero Books, que se tornou uma espécie de berçário para as idéias que sustentam o ativismo revitalizado que se espalhou pelo Reino Unido – e pelo mundo – conforme a década de 2000 se transformava na década de 2010.

O modernismo militante de Owen Hatherley, a mulher unidimensional de Nina Power e a inércia ininterrupta de Ivor Southwood foram os primeiros destaques. Mas foi o Realismo Capitalista que esteve no bolso traseiro de inúmeros manifestantes nos protestos estudantis de 2010 e que se tornou o manifesto não oficial do ressurgimento da esquerda em 2011 – o chamado “ano em que sonhamos perigosamente”.

Talvez devêssemos olhar com mais ceticismo, do ponto de vista um pouco mais sombrio de 2017, com a ênfase em “sonhar”, nas vagas promessas daquele período sobre outro mundo novo e possível. Certamente, o Realismo Capitalista não oferece muito em termos de pronunciamentos doutrinários, recusando-se abordar como o capitalismo pode ser realmente derrotado. A revolução que ele incentivou nos leitores foi muito mais sutil e, em retrospectiva, mais apropriada para um movimento que estava, e provavelmente ainda está, nos estágios iniciais de reviver. O primeiro passo na luta contra a desocialização entrincheirada do século XXI, argumenta o livro, deve ser uma simples libertação da consciência.

Isso inicialmente parece um retrocesso ao fracasso da esquerda dos anos sessenta e setenta. O Anti-Édipo de Deleuze e Guattari é um dos modelos do Realismo Capitalista. Mark separou seu argumento, no entanto, tornando o subjetivismo contemporâneo o principal local de luta e, finalmente, um meio de reativar a coletividade. Seus escritos sobre saúde mental desencadearam uma série de inversões brilhantes. Você acha que se sente mal por causa de alguma aflição arbitrária chamada depressão, mas será que suas condições de trabalho não podem ter a ver com isso? Fomos informados de que o capitalismo neoliberal nos libertou dos horrores das distopias estadistas; então, por que os problemas de saúde mental dispararam nos últimos anos? E se olharmos além de nossa obsessão consigo mesmo por um minuto e enfatizarmos novamente nossa socialidade? E se você fizesse um protesto e todos viessem? Essas foram as perguntas líricas e elementares que o Realismo Capitalista colocou, e destacam por que a leitura foi uma experiência tão emocional e transformadora para tantas pessoas.

Talvez porque a personalidade e os argumentos filosóficos de Mark dependessem de um tipo de abnegação radical, sua vida profissional foi mais difícil do que deveria ter sido, apesar de suas consideráveis proezas e realizações intelectuais. Surpreendentemente, ele só adquiriu um cargo acadêmico permanente nos últimos anos e serviu como laureado da precariedade.

Lamentava regularmente do grande volume de burocracia exigido pelo trabalho acadêmico e foi vítima da cultura do linchamento que paralisou o discurso da esquerda nos últimos dois anos. Ele deixou o Twitter após a controvérsia provocada por “Sair do castelo dos vampiros“, depois de ser bombardeado com acusações ridículas de misoginia e chauvinismo. No entanto, apesar da grande sacada de Mark tenha sido restabelecer uma estrutura sociopolítica para a compreensão de doenças mentais, é evidente, a partir de alguns fatos, que, embora as pressões sociais exacerbassem sua depressão, elas não eram sua única causa.

Em nossa reflexão sobre o legado de Mark, devemos prestar muita atenção à insistência dele em “Sair do castelo dos vampiros”, que devemos sempre operar “em uma atmosfera de camaradagem e solidariedade”. Depois da inação da esquerda organizada durante os anos Bush-Blair, o trabalho de Mark representou, mais do que qualquer outra pessoa, um salto de fé muito necessário, para longe do individualismo capitalista e entrando na práxis comunitária. No fundo, pedia um espírito de equipe sólido. Mark praticou esse credo em sua vida e obra e podemos prestar-lhe uma pequena homenagem seguindo seu exemplo.

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Published in Análise, Antifascismo, Arte, Capital and Política

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