Two decades after the end of the Cold War, the ghost of Comunism has been reborn in the land of the winners, always ready to dig its grave, but not to grapple with its afterlife. This irony is what The Manifest Communist is about. As well as with the fact that the Western culture has ultimately recycled, with a mix of fascination and revenge, the iconography of the collapsed Empire.
Between the fall of the Communist Party (PC) and the expansion of the other PC (Personal Computer), in the multiple variations of The Communist Manifesto or in the use of the East as Hollywood’s greatest platform, or in the Berlin Ostalgia, or putting into question the property as the absolute measure of life in the West, Communism returns as a new cultural genre that Iván de la Nuez defines as Eastern and as the authoritarian drift of a market Stalinism that now reigns the entire world.
The Manifest Communist tackles the discomfort of a culture that can’t live without its Enemy and, at the same time, can’t give up fearing the return of its ghost, incarnated in the recent protests, social movements and the critics of a democracy in decline.
Under these circumstances, the failure of the trilogy Freedom-Equality-Fraternity, the basis of Western politics, has given way to the triangle that brought down the Berlin Wall—Transparency-Solidarity-Reconstruction—that, nowadays, presents us with the possibility to transform society, politics and contemporary culture.
RIGHTS: spanish GALAXIA GUTENBERG