Abstract
Punk never foresaw duration: it refused to look forward and the materiality of its primary evidence is particularly unstable. Thus this chapter does not prize any one phenomena or marker as the key to unlocking punk for the present. Rather, it shows how songs, paintings, and printed material deliberately fostered a system out of synch with itself, wherein all parts together fought against any unitary, ideal configuration. The ubiquitous fracturing of bands, for example, illustrates punk’s drive to vacate itself from the future; performances were dystopic fantasies that in turn crystallized definitively in punk’s various textual interventions into its present. Ultimately, I argue below, punk materiality created in its time what philosopher Walter Benjamin, while theorizing dialectical standstill in The Arcades Project, called a “constellation saturated with tensions.” An apt tool for theorizing punk, Benjamin’s oeuvre tests the possibility of solving the present’s antinomies. His focus on historical avant-gardes, on the possibility of their aesthetic and material solutions to and impetuses for the effacement of the past in the present, and on the logic of forward-marching progress are in this chapter the means to make legible punk’s inexhaustible self-criticism, aggression, and its insistence on de- and recontextualization. The following illustrates how punk’s overall anarchic project for the aesthetic contestation of the present was indebted to and simultaneously distinct from such aesthetic legacies: punk’s representation of “no future” was more than resignatory stasis.
In the fields with which we are concerned,
knowledge comes only in lightning flashes.
The text is the long roll of thunder that follows.1
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Notes
Walter Benjamin, Arcades Project., trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Belknap, 1999) N1,1.
For such fantasies see Bommi Baumann, Wie alles anfing, How it all Began: The Personal Account of a West German Urban Guerrilla (Vancouver: Pulp Press, 1977);
Margit Schiller, Remembering the Armed Struggle: Life in Baader-Meinh of (London: Zidane, 2008). For a more analytical appraisal,
see Jeremy Varon, Bringing the War Home: The Weather Underground, the Red Army Faction, and the Revolutionary Violence in the Sixties and Seventies (Berkeley: California University Press, 2004);
or Hans Kundnani, Utopia or Auschwitz: Germany’s 1968 Generation and the Holocaust (New York: Columbia University Press, 2009)
For this critique of postmodernity, see Jürgen Habermas, The Philosophical Discourse of Modernity (Cambridge, MA: MIT Press, 1987);
Fredric Jameson, The Cultural Turn: Selected Writings on the Postmodern, 1983–1998 (London: Verso, 1998);
Jean Baudrillard Simulacra and Simulation (Ann Arbor: University of Michigan Press, 1994);
and Hal Foster, The Anti-aesthetic: Essays on Postmodern Culture (Port Townsend, WA: Bay Press, 1983).
See Jürgen Habermas, “Modernity: An Unfinished Project”, in Habermas and the Unfinished Project of Modernity: Critical Essays on The Philosophical Discourse of Modernity., ed. Maurizio Passerin d’Entrèves and Seyla Benhabib (Cambridge, MA: MIT Press, 1997) 54.
Bettina Clausen and Karsten Singelmann, “Avantgarde heute?” in Gegenwartsliteratur Seit 1968.Hansers Sozialgeschichte der Deutschen Literatur vom 16. Jahrhundert bis zur Gegenwart., ed. Klaus Briegleb and Sigrid Weigel, vol. 12 (Munich: Carl Hanser, 1992) 464.
Dave Laing, One Chord Wonders: Power and Meaning in Punk Rock (Philadelphia, PA: Open University Press, 1985) xiii. For more on British DIY
see Dick Hebdige’s Subculture: The Meaning of Style (London: Methune, 1979) 106–112. For West German DIY see Teipel’s Verschwende., 55ff.
Blixa Bargeld, Stimme frisst Feuer (Berlin: Merve, 1988) 106 (cited in Kursbuch 68).
See Alexander Kluge, Die Patriotin. (Frankfurt am Main: Zweitausendeins, 1980).
Richard Langston, Visions of Violence: German Avant-Gardes after Fascism (Evanston, IL: Northwestern University Press, 2008) 26. See also 42–50.
Volker Hage, Collagen in der deutschen Literatur: zur Praxis und Theorie eines Schreibverfahrens (Frankfurt am Main: Peter Lang, 1984) 76–78.
See Richard Langston’s “Roll Over Beethoven! Chuck Berry! Mick Jagger! 1960s Rock, the Myth of Progress, and the Burden of National Identity in West Germany”, in Sound Matters., ed. Nora M. Alter and Lutz Koepnick (New York: Berghahn, 2004): 183–196; Uta Poiger’s Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany (Berkeley: University of California Press, 2000) 10, 89–91, 110, 138, 184–187, and 193–205; and Sabine von Dirke’s “All Power to the Imagination!”: The West German Counterculture from the Student Movement to the Greens (Lincoln: University of Nebraska Press, 1997) 10.
Thomas Meinecke and Michaela Melián, Interview (2009). Peter Glaser, personal interview with author, 2009. Hereafter cited as Interview.
Christian Jäger, “Wörterflucht oder: die kategoriale Not der Literaturwissenschaft angesichts der Literatur der achtziger Jahre” Internationales Jahrbuch für Germanistik. 1(1995): 93.
Ann Goldstein, organizer. Martin Kippenberger: The Problem Perspective (Los Angeles: Museum of Contemporary Art; Cambridge, MA: MIT Press, 2008) 63. See also introductory note 30.
Doris Krystof. Martin Kippenberger: Einer von Euch, unter Euch, mit Euch (Ostfildern, Germany: Hatje Cantz, 2006) 29.
Also the case for the New Wave band Andreas Dorau & Die Marinas. See Ulrike Groos and Peter Gorschlüter Zurück Zum Beton: Die Anfdnge Von Punk Und New Wave in Deutschland 1977–’82: Kunsthalle Düsseldorf, 7. Juli -15. September 2002 (Cologne: König, 2002) 71.
See Ulrich Krempel, “Die Wirklichkeit der Bilder” in Jörg Immendorfi Cafe Deutschland/Adlerhälfte., ed. Jürgen Harten and Ulrich Krempel (Düsseldorf, Germany: Kunsthalle Düsseldorf, 1982) 36–38.
Martin Büsser, If the Kids are United: von Punk zu Hardcore und Zurück (Mainz: Ventil, 2000) 152. The legacy of such fanzines can certainly be tied to flyers made by students and more mainstream literary forms such as Rolf Dieter Brinkmann’s collages in Schnitte (Hamburg: Rowohlt, 1988). For more on Brinkmann and sixties’ avant-garde collages, see Langston, Visions of Violence.
Joachim Lottmann, “Ich wollte der neue Böll werden” Der Tagesspiegel May 6, 2003. See also Simon Reynolds, Rip It Up and StartAgain: Postpunk 1978–1984 (New York: Penguin Books, 2006) xxvii.
Paul Michael Lützler, “Einleitung: Von der Spätmoderne zur Postmoderne. Die deutschsprachige Literatur der achtziger Jahre” German Quarterly 63.3 (1990): 350.
Hubert Winkels’s Einschnitte: zur Literatur der 80er Jahre (Cologne: Kiepenheuer & Witsch, 1988) stands alone as a non-pop oriented monograph analyzing 1980s’ literature. While Winkels’s incisions into this literary corpus do not focus on punk, they use similar analysis-driving keywords that this book uses for analysis of punk and its use of representation: Dadaist verve, subculture, avant-garde, mobile adaptation, and ready-mades (Winkels, Einschnitte., 132, 217, 206, and 226).
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© 2013 Cyrus Shahan
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Shahan, C. (2013). Punk Poetics. In: Punk Rock and German Crisis. Studies in European Culture and History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137337559_2
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